1 00:00:00,080 --> 00:00:02,430 The following content is provided under a Creative 2 00:00:02,430 --> 00:00:03,810 Commons license. 3 00:00:03,810 --> 00:00:06,050 Your support will help MIT OpenCourseWare 4 00:00:06,050 --> 00:00:10,160 continue to offer high quality educational resources for free. 5 00:00:10,160 --> 00:00:12,690 To make a donation or to view additional materials 6 00:00:12,690 --> 00:00:16,600 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:16,600 --> 00:00:17,240 at ocw.mit.edu. 8 00:00:21,730 --> 00:00:24,350 ELIZABETH CHOE: So today is the first screening 9 00:00:24,350 --> 00:00:26,270 of your rough cuts. 10 00:00:26,270 --> 00:00:30,610 And the way this will work is I will show one of the videos, 11 00:00:30,610 --> 00:00:31,780 and we'll all watch it. 12 00:00:31,780 --> 00:00:35,300 You guys can take notes on it while you watch. 13 00:00:35,300 --> 00:00:37,220 And after each screening we will give 14 00:00:37,220 --> 00:00:41,440 general high-level feedback to the creator. 15 00:00:41,440 --> 00:00:43,829 And that's what-- we'll just go through the whole class 16 00:00:43,829 --> 00:00:45,120 and do that for the first half. 17 00:00:45,120 --> 00:00:48,220 Now for the second half, there are a couple options 18 00:00:48,220 --> 00:00:49,510 that we could proceed. 19 00:00:49,510 --> 00:00:51,950 The first being what I usually do 20 00:00:51,950 --> 00:00:57,090 with Science Out Loud, which is to basically do Google 21 00:00:57,090 --> 00:00:59,187 Docs for detailed comments. 22 00:00:59,187 --> 00:01:00,770 And this is really useful because it's 23 00:01:00,770 --> 00:01:02,860 sort of like a check box when you're 24 00:01:02,860 --> 00:01:05,530 going back through and looking at feedback from another person 25 00:01:05,530 --> 00:01:06,670 when you edit. 26 00:01:06,670 --> 00:01:10,030 So this was for George's farts video. 27 00:01:10,030 --> 00:01:12,850 And I made some notes about where 28 00:01:12,850 --> 00:01:17,170 we should add some animations, where we should add overlays. 29 00:01:17,170 --> 00:01:18,810 So this is one option that we could do. 30 00:01:18,810 --> 00:01:21,600 Basically break you guys up to where you will end up 31 00:01:21,600 --> 00:01:24,320 commenting on at least two people's videos, 32 00:01:24,320 --> 00:01:27,490 and we would know who you would be assigned to. 33 00:01:27,490 --> 00:01:29,250 The other option is that we could just 34 00:01:29,250 --> 00:01:32,290 go ahead and pair you guys up or group you guys up, 35 00:01:32,290 --> 00:01:34,370 and instead of doing the Google Docs feedback, 36 00:01:34,370 --> 00:01:36,930 you can just talk to each other one on one. 37 00:01:36,930 --> 00:01:41,184 Do you people have preferences on how we do this? 38 00:01:41,184 --> 00:01:42,100 AUDIENCE: Google Docs. 39 00:01:42,100 --> 00:01:43,266 ELIZABETH CHOE: Google Docs. 40 00:01:45,620 --> 00:01:48,451 Anyone else? 41 00:01:48,451 --> 00:01:48,950 All right. 42 00:01:48,950 --> 00:01:51,560 So we'll do Google Docs. 43 00:01:51,560 --> 00:01:53,940 And I will give you the details on how 44 00:01:53,940 --> 00:01:57,580 that's going to happen during the second half of class. 45 00:01:57,580 --> 00:01:59,210 Sounds good? 46 00:01:59,210 --> 00:02:02,810 So, as it was for the table reads-- 47 00:02:02,810 --> 00:02:05,860 remember that repetitive comments are OK. 48 00:02:05,860 --> 00:02:08,759 It's OK if you feel the same sort of feedback 49 00:02:08,759 --> 00:02:10,710 that another person has already said 50 00:02:10,710 --> 00:02:12,980 because it'll draw attention to the creator 51 00:02:12,980 --> 00:02:14,640 and what they need to work on. 52 00:02:14,640 --> 00:02:17,240 Also remember that at the end of the day this is your video, 53 00:02:17,240 --> 00:02:22,690 so the feedback is for you to take or leave-- hey, Nathan. 54 00:02:22,690 --> 00:02:26,180 And this is probably going to be the most valuable class 55 00:02:26,180 --> 00:02:30,090 time the whole month because this is where you're really 56 00:02:30,090 --> 00:02:33,320 going to have concrete advice on implementing the stuff 57 00:02:33,320 --> 00:02:35,230 that we've talked about so far. 58 00:02:35,230 --> 00:02:37,010 So really take this as an opportunity 59 00:02:37,010 --> 00:02:39,610 to give as constructive and meaningful feedback as 60 00:02:39,610 --> 00:02:41,050 possible. 61 00:02:41,050 --> 00:02:42,087 All right? 62 00:02:42,087 --> 00:02:43,670 Does anyone have questions or comments 63 00:02:43,670 --> 00:02:44,720 before we start watching? 64 00:02:46,920 --> 00:02:47,420 No? 65 00:02:47,420 --> 00:02:49,441 Are you excited? 66 00:02:49,441 --> 00:02:49,940 OK. 67 00:02:49,940 --> 00:02:51,024 AUDIENCE: We need popcorn. 68 00:02:51,024 --> 00:02:53,314 ELIZABETH CHOE: I thought about making pop-- but then I 69 00:02:53,314 --> 00:02:55,840 thought that if people were taking notes on their computers 70 00:02:55,840 --> 00:02:58,997 and they had, like, butter on their fingers. 71 00:02:58,997 --> 00:03:00,330 We'll pop for another screening. 72 00:03:00,330 --> 00:03:01,310 AUDIENCE: --later for a snack. 73 00:03:01,310 --> 00:03:01,605 ELIZABETH CHOE: Yeah. 74 00:03:01,605 --> 00:03:01,900 AUDIENCE: That's fine. 75 00:03:01,900 --> 00:03:03,191 Maybe we should close the big-- 76 00:03:03,191 --> 00:03:06,112 ELIZABETH CHOE: Yeah, I'll close the door. 77 00:03:06,112 --> 00:03:07,320 Does anyone want to go first? 78 00:03:10,200 --> 00:03:10,700 No? 79 00:03:16,035 --> 00:03:19,480 Does that show up on screen OK if I turn these lights off? 80 00:03:19,480 --> 00:03:21,470 OK. 81 00:03:21,470 --> 00:03:24,430 OK, well, then we will just go down the line. 82 00:03:24,430 --> 00:03:26,480 How about that? 83 00:03:26,480 --> 00:03:28,355 So lucky you, Nathan. 84 00:03:28,355 --> 00:03:30,230 Do you want to say anything before we screen, 85 00:03:30,230 --> 00:03:32,313 or do you want to just go ahead and watch and then 86 00:03:32,313 --> 00:03:33,815 talk about your process? 87 00:03:33,815 --> 00:03:35,190 AUDIENCE: I'm going to be honest, 88 00:03:35,190 --> 00:03:37,280 and I made a pretty bad mistake in putting 89 00:03:37,280 --> 00:03:40,928 off filming until yesterday. 90 00:03:40,928 --> 00:03:45,035 And so I only got to get in the editing this morning. 91 00:03:45,035 --> 00:03:47,410 And it really shows. 92 00:03:47,410 --> 00:03:49,530 ELIZABETH CHOE: Well, let's see what you have. 93 00:03:49,530 --> 00:03:52,580 And there is time, that's what tomorrow's for. 94 00:03:52,580 --> 00:03:55,210 AUDIENCE: I couldn't get the animations to work. 95 00:03:55,210 --> 00:03:56,860 ELIZABETH CHOE: OK. 96 00:03:56,860 --> 00:04:00,300 And do keep in mind that all day tomorrow and all day 97 00:04:00,300 --> 00:04:04,370 Thursday is open for you to incorporate feedback. 98 00:04:04,370 --> 00:04:06,550 After today's class ends, we're not 99 00:04:06,550 --> 00:04:09,770 meeting again until the screening on Thursday at 6:30. 100 00:04:09,770 --> 00:04:12,127 So as long as we get videos in by, like-- 6:00 101 00:04:12,127 --> 00:04:13,670 PM's the latest. 102 00:04:13,670 --> 00:04:16,029 Hopefully you're not working up until 6:00 PM. 103 00:04:16,029 --> 00:04:17,570 You have the rest of the day to work. 104 00:04:17,570 --> 00:04:19,805 PROFESSOR: But if you need our help, then e-mail us. 105 00:04:19,805 --> 00:04:21,149 And we can meet up if you want. 106 00:04:21,149 --> 00:04:21,982 ELIZABETH CHOE: Yes. 107 00:04:21,982 --> 00:04:25,015 We will be in the classroom tomorrow and Thursday 108 00:04:25,015 --> 00:04:25,848 if people need help. 109 00:04:29,434 --> 00:04:30,100 [VIDEO PLAYBACK] 110 00:04:30,100 --> 00:04:33,202 -Why does your-- why does your fridge start to smell? 111 00:04:33,202 --> 00:04:34,407 [END PLAYBACK] 112 00:04:34,407 --> 00:04:35,990 ELIZABETH CHOE: The sound sounds good. 113 00:04:40,354 --> 00:04:41,020 [VIDEO PLAYBACK] 114 00:04:41,020 --> 00:04:43,110 -Why does your fridge start to smell? 115 00:04:43,110 --> 00:04:45,610 And where does that icky black liquid come from? 116 00:04:45,610 --> 00:04:48,710 Wouldn't life just be easier if things didn't rot, 117 00:04:48,710 --> 00:04:50,560 if things lasted forever? 118 00:04:50,560 --> 00:04:52,260 Well, maybe, but probably not. 119 00:04:52,260 --> 00:04:54,670 According to the USDA, the average American household 120 00:04:54,670 --> 00:04:56,340 wastes 25% of its food. 121 00:04:56,340 --> 00:04:58,650 And a lot of restaurants are even worse. 122 00:04:58,650 --> 00:05:00,630 So if we didn't have decomposition, 123 00:05:00,630 --> 00:05:02,700 what would happen to the food we throw away? 124 00:05:02,700 --> 00:05:05,560 Food in landfills normally gets dealt with by bacteria, fungi, 125 00:05:05,560 --> 00:05:07,460 and protists that allow the nutrients in food 126 00:05:07,460 --> 00:05:09,990 to return to the soil and, eventually, other living 127 00:05:09,990 --> 00:05:11,140 things. 128 00:05:11,140 --> 00:05:13,960 These decomposers also break down other dead stuff, 129 00:05:13,960 --> 00:05:15,100 like trees. 130 00:05:15,100 --> 00:05:19,060 In fact, they're pretty much the only thing that can eat wood. 131 00:05:19,060 --> 00:05:22,087 So in a world without rot, while your home may not 132 00:05:22,087 --> 00:05:23,920 have to worry about being eaten by termites, 133 00:05:23,920 --> 00:05:25,536 who rely on protists in their stomach, 134 00:05:25,536 --> 00:05:26,910 pretty soon forests and landfills 135 00:05:26,910 --> 00:05:29,495 would be flooded with a lot of dead stuff. 136 00:05:29,495 --> 00:05:31,740 So how do we avoid this problem? 137 00:05:31,740 --> 00:05:35,410 Well, basically, in your fridge, on a forest floor, 138 00:05:35,410 --> 00:05:37,960 in a dumpster, almost anywhere, there 139 00:05:37,960 --> 00:05:40,620 are fungi, bacteria, and protists that live entirely 140 00:05:40,620 --> 00:05:41,506 by eating dead stuff. 141 00:05:41,506 --> 00:05:43,380 These dead things can be more or less divided 142 00:05:43,380 --> 00:05:44,820 into three categories. 143 00:05:44,820 --> 00:05:47,060 Carbohydrates-- sugar and starches. 144 00:05:47,060 --> 00:05:48,530 Lipids-- think fats. 145 00:05:48,530 --> 00:05:50,077 And proteins, like meats. 146 00:05:50,077 --> 00:05:51,660 All of these are chemically different, 147 00:05:51,660 --> 00:05:53,960 so they each get broken down by different enzymes 148 00:05:53,960 --> 00:05:57,160 in different ways before being absorbed by decomposers. 149 00:05:57,160 --> 00:06:00,160 For example, proteases break down proteins 150 00:06:00,160 --> 00:06:02,710 into amino acids, the cells building blocks. 151 00:06:02,710 --> 00:06:04,660 Lipids rely on lipases. 152 00:06:04,660 --> 00:06:08,870 And carbohydrates on things like amylase and cellulases. 153 00:06:08,870 --> 00:06:11,010 So how does a perfectly nice broccoli floret 154 00:06:11,010 --> 00:06:13,490 start giving off this foul black liquid? 155 00:06:13,490 --> 00:06:15,849 Fruits and vegetables are almost entirely made of water. 156 00:06:15,849 --> 00:06:17,390 So on the most basic level, you could 157 00:06:17,390 --> 00:06:20,470 say their cells are like extremely complex water 158 00:06:20,470 --> 00:06:21,270 balloons. 159 00:06:21,270 --> 00:06:23,220 The exterior-- a cell wall-- is made 160 00:06:23,220 --> 00:06:25,230 of cellulose, a complex carbohydrate that 161 00:06:25,230 --> 00:06:28,290 gets broken down by enzymes into small sugars the cell can 162 00:06:28,290 --> 00:06:29,580 get energy from. 163 00:06:29,580 --> 00:06:32,080 When bacteria or fungi uses cellulase to eat 164 00:06:32,080 --> 00:06:33,770 the exterior of a cell, it's like 165 00:06:33,770 --> 00:06:35,890 if I were to pop the balloon. 166 00:06:35,890 --> 00:06:38,230 That's the muck you see in your fridge. 167 00:06:38,230 --> 00:06:40,150 And that's how you get that icky black liquid. 168 00:06:40,150 --> 00:06:43,256 What about that stink? 169 00:06:43,256 --> 00:06:44,880 For fruits and vegetables a lot of time 170 00:06:44,880 --> 00:06:48,180 the smell happens after the icky black liquid forms. 171 00:06:48,180 --> 00:06:49,900 Other bacteria that weren't involved 172 00:06:49,900 --> 00:06:52,430 in the initial colonization move in 173 00:06:52,430 --> 00:06:54,410 and start to stink everything up. 174 00:06:54,410 --> 00:06:56,700 Meat gets smelly when lipases break down 175 00:06:56,700 --> 00:06:59,500 fat in the meat into glycerol and fatty acids-- 176 00:06:59,500 --> 00:07:00,930 two energy sources. 177 00:07:00,930 --> 00:07:03,610 And fatty acids are kind of gross. 178 00:07:03,610 --> 00:07:07,620 And so while your food rotting may smell absolutely terrible, 179 00:07:07,620 --> 00:07:09,850 because of it the environment's able to recycle 180 00:07:09,850 --> 00:07:11,680 crucial nutrients it needs. 181 00:07:11,680 --> 00:07:14,270 And, well, that's why we have all this. 182 00:07:14,270 --> 00:07:18,770 [END PLAYBACK] 183 00:07:19,106 --> 00:07:20,231 PROFESSOR: Are you kidding? 184 00:07:20,231 --> 00:07:21,807 That was awesome. 185 00:07:21,807 --> 00:07:22,890 ELIZABETH CHOE: All right. 186 00:07:22,890 --> 00:07:23,870 General feedback? 187 00:07:23,870 --> 00:07:25,846 PROFESSOR: Well, I want to hear what you think 188 00:07:25,846 --> 00:07:27,514 before we give you feedback. 189 00:07:27,514 --> 00:07:29,180 ELIZABETH CHOE: Like what are the things 190 00:07:29,180 --> 00:07:30,594 that you like about what you did, 191 00:07:30,594 --> 00:07:32,260 and what are the things that you already 192 00:07:32,260 --> 00:07:36,050 know you want to change or add? 193 00:07:36,050 --> 00:07:37,259 AUDIENCE: The audio. 194 00:07:37,259 --> 00:07:37,758 ELIZABETH CHOE: The audio. 195 00:07:37,758 --> 00:07:39,091 AUDIENCE: The lack of animation. 196 00:07:41,750 --> 00:07:43,740 The main things. 197 00:07:43,740 --> 00:07:45,240 ELIZABETH CHOE: What was the hardest 198 00:07:45,240 --> 00:07:49,220 part about making this video? 199 00:07:49,220 --> 00:07:53,390 AUDIENCE: Actually going and doing the shooting. 200 00:07:53,390 --> 00:07:56,079 I kind of put that off as long as I really feasibly 201 00:07:56,079 --> 00:08:00,795 could have because I really didn't want to do it. 202 00:08:00,795 --> 00:08:02,170 ELIZABETH CHOE: Was it as painful 203 00:08:02,170 --> 00:08:04,120 as you thought it would be once you started? 204 00:08:04,120 --> 00:08:04,577 AUDIENCE: Yeah. 205 00:08:04,577 --> 00:08:05,452 ELIZABETH CHOE: Yeah. 206 00:08:08,000 --> 00:08:11,110 Well, I will say that the script is very, very 207 00:08:11,110 --> 00:08:12,850 tight in this video. 208 00:08:12,850 --> 00:08:15,000 And it has come a very long way from 209 00:08:15,000 --> 00:08:17,150 your initial brainstorming. 210 00:08:17,150 --> 00:08:18,930 And if you come to the screening, 211 00:08:18,930 --> 00:08:21,690 you'll get to actually see all the pictures. 212 00:08:21,690 --> 00:08:25,180 So, just a plug to come to the screening if you want to. 213 00:08:25,180 --> 00:08:27,190 But the script is super tight. 214 00:08:27,190 --> 00:08:29,660 And I know that you spent a long time honing that, 215 00:08:29,660 --> 00:08:33,840 and I think that really paid off. 216 00:08:33,840 --> 00:08:38,150 It's two thirty-three, which is a great time. 217 00:08:38,150 --> 00:08:41,329 So I think that as far as the content goes 218 00:08:41,329 --> 00:08:43,370 it's really strong, and I can tell that you spent 219 00:08:43,370 --> 00:08:44,750 a lot of time developing that. 220 00:08:47,390 --> 00:08:49,490 Does anyone want to add some more feedback? 221 00:08:49,490 --> 00:08:52,082 I mean, I can talk to-- yes, Yuliya. 222 00:08:52,082 --> 00:08:54,432 AUDIENCE: I like the transitions. 223 00:08:54,432 --> 00:08:56,015 There weren't too many of them, but it 224 00:08:56,015 --> 00:08:58,540 was nice to see a change of background and scene. 225 00:08:58,540 --> 00:09:00,240 ELIZABETH CHOE: Yeah. 226 00:09:00,240 --> 00:09:01,290 And clean cuts. 227 00:09:01,290 --> 00:09:03,370 No funky swirls, no fades. 228 00:09:03,370 --> 00:09:03,870 It's nice. 229 00:09:03,870 --> 00:09:04,995 AUDIENCE: Yeah, definitely. 230 00:09:06,720 --> 00:09:08,720 I was going to say something else, but I forgot. 231 00:09:08,720 --> 00:09:09,803 ELIZABETH CHOE: That's OK. 232 00:09:09,803 --> 00:09:12,980 We can come back if you remember. 233 00:09:12,980 --> 00:09:13,480 Anyone else? 234 00:09:13,480 --> 00:09:15,030 Yes, Andrea. 235 00:09:15,030 --> 00:09:17,630 Sorry. 236 00:09:17,630 --> 00:09:19,950 AUDIENCE: I really like the pacing of it. 237 00:09:19,950 --> 00:09:22,830 It's a little rushed in a couple of places, 238 00:09:22,830 --> 00:09:24,750 but that's-- that happens. 239 00:09:24,750 --> 00:09:26,670 But I like the pacing in general. 240 00:09:26,670 --> 00:09:30,990 And I also like the water balloon example 241 00:09:30,990 --> 00:09:36,822 and the different camera angles, and I 242 00:09:36,822 --> 00:09:40,581 thought it was just really artistically very well done, 243 00:09:40,581 --> 00:09:43,350 very well composed. 244 00:09:43,350 --> 00:09:46,690 ELIZABETH CHOE: What was so terrible about actually 245 00:09:46,690 --> 00:09:47,190 shooting? 246 00:09:47,190 --> 00:09:50,525 Was it being on camera? 247 00:09:50,525 --> 00:09:51,150 AUDIENCE: Yeah. 248 00:09:51,150 --> 00:09:52,025 ELIZABETH CHOE: Yeah. 249 00:09:52,025 --> 00:09:56,190 AUDIENCE: And also, each one took a lot of takes. 250 00:09:56,190 --> 00:09:57,710 ELIZABETH CHOE: Yeah. 251 00:09:57,710 --> 00:09:59,700 I will say-- because I know that a lot of you 252 00:09:59,700 --> 00:10:02,290 expressed sort of concern and hesitation 253 00:10:02,290 --> 00:10:04,882 about being on camera, and I feel like a lot of this class 254 00:10:04,882 --> 00:10:07,720 has been like actually no, you're really great on camera. 255 00:10:07,720 --> 00:10:10,660 The opening shot is delivered really, really well. 256 00:10:10,660 --> 00:10:13,176 And there are spots where, like Andrea said, 257 00:10:13,176 --> 00:10:14,800 you're rushing your words a little bit. 258 00:10:14,800 --> 00:10:17,130 And I'm sure you'll see it when you go back through. 259 00:10:17,130 --> 00:10:20,350 And whenever you guys do your Google Doc comments, 260 00:10:20,350 --> 00:10:24,570 point out spaces where maybe his delivery changes. 261 00:10:24,570 --> 00:10:26,520 It is a little inconsistent between scenes, 262 00:10:26,520 --> 00:10:28,040 but there are some scenes where it 263 00:10:28,040 --> 00:10:30,750 is delivered so perfectly and so clearly, 264 00:10:30,750 --> 00:10:35,210 and you seem really, really comfortable on screen. 265 00:10:35,210 --> 00:10:35,850 Yeah. 266 00:10:35,850 --> 00:10:40,090 AUDIENCE: I will say-- did you shoot it by yourself? 267 00:10:40,090 --> 00:10:44,640 AUDIENCE: I did shoot it mostly by myself, since I put it off. 268 00:10:44,640 --> 00:10:47,420 AUDIENCE: Because I found that it was a lot easier to have 269 00:10:47,420 --> 00:10:52,411 someone shoot it than, like, when we were doing 270 00:10:52,411 --> 00:10:54,412 those first blogs and stuff at the beginning, 271 00:10:54,412 --> 00:10:56,590 I thought that was a lot harder doing it by myself 272 00:10:56,590 --> 00:10:58,080 than having someone there. 273 00:10:58,080 --> 00:11:02,310 I felt less comfortable being alone than with someone. 274 00:11:02,310 --> 00:11:03,809 Which is kind of-- I thought it'd 275 00:11:03,809 --> 00:11:06,184 be the other way around when I first started the project. 276 00:11:09,118 --> 00:11:11,563 Other than that, like, how I think he used-- 277 00:11:11,563 --> 00:11:12,541 went to Star Market. 278 00:11:12,541 --> 00:11:15,876 So representing a local grocer too. 279 00:11:15,876 --> 00:11:16,750 AUDIENCE: Yeah, yeah. 280 00:11:16,750 --> 00:11:17,600 I agree. 281 00:11:17,600 --> 00:11:20,208 I like the part where he talked about the smell. 282 00:11:20,208 --> 00:11:20,708 You know? 283 00:11:20,708 --> 00:11:21,134 ELIZABETH CHOE: Yeah. 284 00:11:21,134 --> 00:11:23,304 AUDIENCE: And I like the cut on the fridge. 285 00:11:23,304 --> 00:11:24,627 AUDIENCE: The visual, yeah. 286 00:11:24,627 --> 00:11:26,210 ELIZABETH CHOE: What do you guys think 287 00:11:26,210 --> 00:11:27,450 about the visuals in general? 288 00:11:27,450 --> 00:11:30,390 Because it's always hard to do a chemistry or biology 289 00:11:30,390 --> 00:11:33,340 video because the visualizations are always 290 00:11:33,340 --> 00:11:35,210 somewhat impossible to do. 291 00:11:35,210 --> 00:11:36,625 Yeah, Yuliya. 292 00:11:36,625 --> 00:11:39,810 AUDIENCE: I think it would be nice to show some 293 00:11:39,810 --> 00:11:42,760 of the scientific vocabulary, so we can see it and not 294 00:11:42,760 --> 00:11:43,320 just hear it. 295 00:11:43,320 --> 00:11:45,330 ELIZABETH CHOE: Yeah, like a label on top or something. 296 00:11:45,330 --> 00:11:47,110 AUDIENCE: And then for the backgrounds, 297 00:11:47,110 --> 00:11:49,450 like, the plants backgrounds worked really well 298 00:11:49,450 --> 00:11:51,030 and, like, the fridge and all that. 299 00:11:51,030 --> 00:11:52,738 But there was a part where there was just 300 00:11:52,738 --> 00:11:58,250 a random penguin or random pictures on the wall that 301 00:11:58,250 --> 00:12:03,340 maybe could be overlaid with animation. 302 00:12:03,340 --> 00:12:06,300 [VIDEO PLAYBACK] 303 00:12:14,220 --> 00:12:14,860 [END PLAYBACK] 304 00:12:14,860 --> 00:12:17,387 ELIZABETH CHOE: Like this shot. 305 00:12:17,387 --> 00:12:18,970 I like that you have the kitchen space 306 00:12:18,970 --> 00:12:20,110 as sort of your home base. 307 00:12:20,110 --> 00:12:22,322 Because your centered on the question of why things 308 00:12:22,322 --> 00:12:23,780 rot in your fridge, and that's what 309 00:12:23,780 --> 00:12:25,530 allows you to explore decomposition 310 00:12:25,530 --> 00:12:27,790 at greater length. 311 00:12:27,790 --> 00:12:33,060 But this is doing that whole thing that a lot of web videos 312 00:12:33,060 --> 00:12:34,847 do, where you center the subject. 313 00:12:34,847 --> 00:12:36,430 And I was talking to Chris [INAUDIBLE] 314 00:12:36,430 --> 00:12:38,940 about why it's so common that SciShow does it 315 00:12:38,940 --> 00:12:40,100 and Vsauce does it. 316 00:12:40,100 --> 00:12:47,060 And it sort of gives off an air of it being not as formal. 317 00:12:47,060 --> 00:12:50,010 But it's also a little bit comical, too. 318 00:12:50,010 --> 00:12:51,510 And I think that if you just-- even 319 00:12:51,510 --> 00:12:53,259 if you zoomed in just a little bit and got 320 00:12:53,259 --> 00:12:55,980 rid of, like, this spray thing on the side 321 00:12:55,980 --> 00:12:58,920 and the cooking things on that side, 322 00:12:58,920 --> 00:13:00,470 it might help with this one. 323 00:13:00,470 --> 00:13:05,920 Also remember to tuck your mic in under your shirt if you can. 324 00:13:05,920 --> 00:13:06,420 Let's see. 325 00:13:06,420 --> 00:13:09,100 But you were talking about this penguin here, right? 326 00:13:09,100 --> 00:13:11,090 Yeah, so this-- I mean, you could 327 00:13:11,090 --> 00:13:13,520 play around with keeping this footage, if you like, 328 00:13:13,520 --> 00:13:14,780 and just zoom in a little bit. 329 00:13:14,780 --> 00:13:18,110 See if you can digitally zoom in on the editing software. 330 00:13:18,110 --> 00:13:20,580 If the resolution kind of goes kaput, 331 00:13:20,580 --> 00:13:22,160 you may have to re-film that part. 332 00:13:22,160 --> 00:13:26,530 But again, I think Yuliya is right in that 333 00:13:26,530 --> 00:13:29,040 be careful about having visual distractors 334 00:13:29,040 --> 00:13:31,930 when you don't really need them there. 335 00:13:31,930 --> 00:13:34,450 I do agree with-- was it Andrea? 336 00:13:34,450 --> 00:13:37,671 Who said something about the pacing? 337 00:13:37,671 --> 00:13:39,920 Yeah, I think the pacing of your cuts are pretty good. 338 00:13:39,920 --> 00:13:44,400 Like, nothing lasts a little too long, nothing's too short. 339 00:13:44,400 --> 00:13:47,020 If you have B-roll, it might give you 340 00:13:47,020 --> 00:13:49,640 a little bit of breathing room in between shots 341 00:13:49,640 --> 00:13:52,265 where you're talking really fast and you have a lot of content. 342 00:13:57,600 --> 00:13:59,330 But yeah, like stuff like this-- I 343 00:13:59,330 --> 00:14:00,456 don't remember what you're talking about here. 344 00:14:00,456 --> 00:14:00,880 [VIDEO PLAYBACK] 345 00:14:00,880 --> 00:14:03,255 - --while your home may not have to worry about being eaten by-- 346 00:14:03,255 --> 00:14:03,530 [END PLAYBACK] 347 00:14:03,530 --> 00:14:04,792 ELIZABETH CHOE: Yeah, so-- 348 00:14:04,792 --> 00:14:06,167 AUDIENCE: Comical note on that, I 349 00:14:06,167 --> 00:14:08,530 filmed in front of someone's house, 350 00:14:08,530 --> 00:14:10,732 and they actually came out and asked me to stop. 351 00:14:10,732 --> 00:14:11,531 And so I kind of-- 352 00:14:11,531 --> 00:14:11,982 ELIZABETH CHOE: Oh, no. 353 00:14:11,982 --> 00:14:14,050 AUDIENCE: --gave up on actually filming at home. 354 00:14:14,050 --> 00:14:17,360 ELIZABETH CHOE: Filming in front of a house. 355 00:14:17,360 --> 00:14:18,835 I mean, is this in your dorm room? 356 00:14:18,835 --> 00:14:19,460 AUDIENCE: Yeah. 357 00:14:19,460 --> 00:14:19,860 ELIZABETH CHOE: OK. 358 00:14:19,860 --> 00:14:22,380 AUDIENCE: That's what my backup idea was, since it's my home. 359 00:14:22,380 --> 00:14:24,838 ELIZABETH CHOE: Yeah, actually, I think that it works fine. 360 00:14:24,838 --> 00:14:29,100 And I would say for this one, do a wider shot for this one 361 00:14:29,100 --> 00:14:31,980 because it doesn't quite establish 362 00:14:31,980 --> 00:14:33,460 that you're in your own place. 363 00:14:33,460 --> 00:14:35,700 Like, if you can see you sitting on your actual bed, 364 00:14:35,700 --> 00:14:38,860 that might help a little bit more. 365 00:14:38,860 --> 00:14:41,230 So again, it's not a matter of using wide or close-up 366 00:14:41,230 --> 00:14:45,340 shots for the sake of using them on principle, but like what 367 00:14:45,340 --> 00:14:48,987 the background actually reveals and sets for the audience. 368 00:14:48,987 --> 00:14:51,320 AUDIENCE: I was wondering, can you go back a little bit? 369 00:14:51,320 --> 00:14:52,778 Because there was-- I was wondering 370 00:14:52,778 --> 00:14:56,804 what your vision was for this. 371 00:14:56,804 --> 00:14:57,720 AUDIENCE: Right there. 372 00:14:57,720 --> 00:14:59,760 Yes. 373 00:14:59,760 --> 00:15:02,165 I'm still missing stock footage. 374 00:15:02,165 --> 00:15:02,706 AUDIENCE: OK. 375 00:15:02,706 --> 00:15:04,747 ELIZABETH CHOE: Oh, so this is like a placeholder 376 00:15:04,747 --> 00:15:05,526 for the rough cut. 377 00:15:05,526 --> 00:15:06,975 I figured that was the case. 378 00:15:06,975 --> 00:15:07,578 AUDIENCE: --what you were planning to do here. 379 00:15:07,578 --> 00:15:10,339 I was like, I'm not sure what I'm looking at. 380 00:15:10,339 --> 00:15:10,839 OK. 381 00:15:10,839 --> 00:15:11,714 ELIZABETH CHOE: Yeah. 382 00:15:14,600 --> 00:15:16,245 Oh, the dumpster shot. 383 00:15:16,245 --> 00:15:18,789 Yeah, I wanted to say something about this, too. 384 00:15:18,789 --> 00:15:20,830 If this is something that you decide to re-shoot, 385 00:15:20,830 --> 00:15:24,000 I would also maybe scoot back a little bit as well. 386 00:15:24,000 --> 00:15:26,920 Because it's hard to tell that it's really a dumpster 387 00:15:26,920 --> 00:15:28,330 until you actually say it. 388 00:15:28,330 --> 00:15:29,582 Where was this? 389 00:15:29,582 --> 00:15:31,290 AUDIENCE: It's down at the loading docks. 390 00:15:31,290 --> 00:15:32,230 ELIZABETH CHOE: Oh, OK. 391 00:15:32,230 --> 00:15:34,355 AUDIENCE: I had a lot of trouble with the dumpsters 392 00:15:34,355 --> 00:15:36,730 I'd planned on going to. 393 00:15:36,730 --> 00:15:39,970 By Walker is a bit of a wind tunnel. 394 00:15:39,970 --> 00:15:46,627 And the Stata Center, out behind W20 was really noisy. 395 00:15:46,627 --> 00:15:47,960 ELIZABETH CHOE: Which one's W20? 396 00:15:47,960 --> 00:15:49,168 AUDIENCE: The student center. 397 00:15:49,168 --> 00:15:50,310 ELIZABETH CHOE: Oh, OK. 398 00:15:50,310 --> 00:15:52,460 I mean, there is an optimal dumps-- 399 00:15:52,460 --> 00:15:55,050 if you guys are ever in need of an optimal dumpster 400 00:15:55,050 --> 00:15:56,470 to fill up, let me tell you. 401 00:15:56,470 --> 00:15:59,910 Right behind the MIT Museum-- by D-Lab actually-- 402 00:15:59,910 --> 00:16:05,130 there are some prime dumpster spots for shooting. 403 00:16:05,130 --> 00:16:07,730 And that's where we shot George's farts one, too. 404 00:16:07,730 --> 00:16:09,317 So if you need to. 405 00:16:09,317 --> 00:16:11,150 But in this one, I mean, I think it's really 406 00:16:11,150 --> 00:16:13,050 matter of the camera angle. 407 00:16:13,050 --> 00:16:15,385 Did you shoot this on a tripod? 408 00:16:15,385 --> 00:16:16,010 AUDIENCE: Yeah. 409 00:16:16,010 --> 00:16:16,830 ELIZABETH CHOE: OK. 410 00:16:16,830 --> 00:16:19,987 Were you limited by how far you could let your mic cable go? 411 00:16:19,987 --> 00:16:20,612 AUDIENCE: Yeah. 412 00:16:20,612 --> 00:16:23,305 ELIZABETH CHOE: OK. 413 00:16:23,305 --> 00:16:26,500 Yeah, maybe think about this one as a potential one to re-shoot. 414 00:16:26,500 --> 00:16:31,670 Because I think the visual background makes a lot of sense 415 00:16:31,670 --> 00:16:35,040 and is a really good transition-- 416 00:16:35,040 --> 00:16:37,400 it's a really good change from the kitchen setting. 417 00:16:37,400 --> 00:16:40,852 So I would really love to see that it's actually a dumpster. 418 00:16:40,852 --> 00:16:42,390 AUDIENCE: And if you are refilming-- 419 00:16:42,390 --> 00:16:44,970 only if you are refilming-- something that I noticed 420 00:16:44,970 --> 00:16:48,060 is that when you're talking you bounce a little. 421 00:16:48,060 --> 00:16:49,905 So just-- like in some of the film 422 00:16:49,905 --> 00:16:51,350 when your up close we see that. 423 00:16:51,350 --> 00:16:52,755 And it's just maybe something that if you 424 00:16:52,755 --> 00:16:54,575 can be aware of that while you're filming. 425 00:16:54,575 --> 00:16:57,550 It was just one moment, I can't remember exactly where it was. 426 00:16:57,550 --> 00:16:58,960 Where is it? 427 00:16:58,960 --> 00:17:01,780 When you were talking, a little towards the end. 428 00:17:01,780 --> 00:17:06,500 And I noticed it a little more, this sort of gentle 429 00:17:06,500 --> 00:17:08,759 bounce while you talk. 430 00:17:08,759 --> 00:17:10,050 That you don't do all the time. 431 00:17:10,050 --> 00:17:12,900 [VIDEO PLAYBACK] 432 00:17:26,187 --> 00:17:26,770 [END PLAYBACK] 433 00:17:26,770 --> 00:17:27,995 ELIZABETH CHOE: Maybe we can find the-- 434 00:17:27,995 --> 00:17:29,360 AUDIENCE: I'll look at it more carefully, because there 435 00:17:29,360 --> 00:17:30,270 was a point where I was like-- 436 00:17:30,270 --> 00:17:32,192 AUDIENCE: I think it was the end of [INAUDIBLE]. 437 00:17:32,192 --> 00:17:33,530 AUDIENCE: Do you know what I'm talking about? 438 00:17:33,530 --> 00:17:34,314 OK. 439 00:17:34,314 --> 00:17:36,730 ELIZABETH CHOE: Maybe we can note that in the Google Docs, 440 00:17:36,730 --> 00:17:39,210 whoever's commenting on Nathan's. 441 00:17:39,210 --> 00:17:41,700 And again, stuff like this, I think it's great, but maybe 442 00:17:41,700 --> 00:17:44,590 just like crop this framing a little bit more 443 00:17:44,590 --> 00:17:47,940 so it's a little more rule of thirds. 444 00:17:47,940 --> 00:17:50,620 Because the rule of thirds works really well for this shot. 445 00:17:50,620 --> 00:17:53,680 And [INAUDIBLE] pointed out a really good tip. 446 00:17:53,680 --> 00:17:55,650 When you do rule of thirds, use the eyes 447 00:17:55,650 --> 00:17:58,860 as sort of the point instead of, like, your face. 448 00:17:58,860 --> 00:18:00,670 Because there's just a little too much room 449 00:18:00,670 --> 00:18:02,628 on the top and right-hand side of this framing. 450 00:18:06,540 --> 00:18:08,640 How did you film the opening? 451 00:18:08,640 --> 00:18:09,930 Like, were you by yourself? 452 00:18:09,930 --> 00:18:11,555 Was it the first thing that you filmed? 453 00:18:14,440 --> 00:18:24,030 AUDIENCE: I was by myself, and that was the-- no, it wasn't. 454 00:18:24,030 --> 00:18:29,270 It was like second place I went. 455 00:18:29,270 --> 00:18:30,530 ELIZABETH CHOE: OK. 456 00:18:30,530 --> 00:18:32,220 Because whatever conditions you were 457 00:18:32,220 --> 00:18:34,280 filming under for this scene, I think 458 00:18:34,280 --> 00:18:36,590 you should really try to remember 459 00:18:36,590 --> 00:18:37,774 what it was that you did. 460 00:18:37,774 --> 00:18:38,690 Because this opening-- 461 00:18:38,690 --> 00:18:38,910 [VIDEO PLAYBACK] 462 00:18:38,910 --> 00:18:39,830 - --start to smell? 463 00:18:39,830 --> 00:18:42,230 And where does that icky black liquid come from? 464 00:18:42,230 --> 00:18:45,037 Wouldn't life just be easier if things didn't rot? 465 00:18:45,037 --> 00:18:45,620 [END PLAYBACK] 466 00:18:45,620 --> 00:18:46,290 ELIZABETH CHOE: Like that question 467 00:18:46,290 --> 00:18:48,160 is posed actually quite naturally. 468 00:18:48,160 --> 00:18:50,743 I think the tendency for a lot of people when they're starting 469 00:18:50,743 --> 00:18:53,870 would be to sort of overly cheese that question up. 470 00:18:53,870 --> 00:18:56,370 And that's sort of what happened in early readings 471 00:18:56,370 --> 00:18:58,650 that a lot of you guys did. 472 00:18:58,650 --> 00:19:00,450 But this one just sounds very natural, 473 00:19:00,450 --> 00:19:04,030 like how you would actually pose that question in real life. 474 00:19:04,030 --> 00:19:07,390 So whatever conditions that you were under filming this one, 475 00:19:07,390 --> 00:19:11,240 really try to apply that to whatever you re-shoot. 476 00:19:11,240 --> 00:19:14,290 Were you there with him for this one by chance? 477 00:19:14,290 --> 00:19:15,230 Hmm. 478 00:19:15,230 --> 00:19:16,950 Maybe it's an energy level thing. 479 00:19:16,950 --> 00:19:17,798 Like-- 480 00:19:17,798 --> 00:19:19,430 AUDIENCE: I think it was I was inside. 481 00:19:19,430 --> 00:19:20,850 ELIZABETH CHOE: You were inside, so you weren't as 482 00:19:20,850 --> 00:19:22,100 nervous about filming outside. 483 00:19:22,100 --> 00:19:25,682 Yeah, actually, that does a lot to people's deliveries. 484 00:19:25,682 --> 00:19:27,390 But yeah, just something to keep in mind. 485 00:19:27,390 --> 00:19:29,098 Does anyone have final thoughts before we 486 00:19:29,098 --> 00:19:30,340 move on to the next video? 487 00:19:35,250 --> 00:19:38,400 Do you know who we had paired up to comment on Nathan's? 488 00:19:47,116 --> 00:19:49,489 PROFESSOR: Andrea and Kenneth. 489 00:19:49,489 --> 00:19:50,280 ELIZABETH CHOE: OK. 490 00:19:50,280 --> 00:19:52,830 So basically, for the rough cut thing, 491 00:19:52,830 --> 00:19:55,900 we will pair you up with two people. 492 00:19:55,900 --> 00:19:58,840 One of those people is going to be the person who 493 00:19:58,840 --> 00:20:01,370 helped film your video, and the other person 494 00:20:01,370 --> 00:20:03,620 is just someone completely new. 495 00:20:03,620 --> 00:20:06,431 So Kenneth and Andrea are commenting on Nathan's. 496 00:20:08,986 --> 00:20:11,360 Andrea, do you want to say anything about yours before we 497 00:20:11,360 --> 00:20:14,225 screen? 498 00:20:14,225 --> 00:20:17,704 AUDIENCE: There are lots of placeholders for stuff, 499 00:20:17,704 --> 00:20:18,698 like similar. 500 00:20:24,165 --> 00:20:25,159 It's really boring. 501 00:20:28,141 --> 00:20:31,550 ELIZABETH CHOE: We will be the judge of that. 502 00:20:31,550 --> 00:20:32,050 All right. 503 00:20:32,050 --> 00:20:33,372 This is Andrea's. 504 00:20:33,372 --> 00:20:34,710 [VIDEO PLAYBACK] 505 00:20:34,710 --> 00:20:38,680 -Eating is one of the great pleasures and necessities 506 00:20:38,680 --> 00:20:39,940 of life. 507 00:20:39,940 --> 00:20:45,180 And to enjoy everything from energy bars to apples, 508 00:20:45,180 --> 00:20:47,180 we rely on one part of our bodies 509 00:20:47,180 --> 00:20:49,640 to do an important job-- our teeth. 510 00:20:52,660 --> 00:20:57,260 Teeth are the hardest substances in our bodies. 511 00:20:57,260 --> 00:20:59,650 They're harder than our bones, and they're 512 00:20:59,650 --> 00:21:02,550 even harder than iron or steel. 513 00:21:02,550 --> 00:21:04,800 While we chew our teeth experience 514 00:21:04,800 --> 00:21:09,020 forces of up to 225 pounds. 515 00:21:09,020 --> 00:21:10,650 Hmm. 516 00:21:10,650 --> 00:21:13,610 So why doesn't our jaw just crumble 517 00:21:13,610 --> 00:21:16,430 under all of those forces? 518 00:21:16,430 --> 00:21:18,750 Between your tooth and your jawbone, 519 00:21:18,750 --> 00:21:20,570 there is a specialized piece of tissue 520 00:21:20,570 --> 00:21:25,820 called the periodontal ligament, or PDL for short. 521 00:21:25,820 --> 00:21:28,530 The PDL can easily absorb the normal forces 522 00:21:28,530 --> 00:21:32,980 that a tooth experiences when we chew, say, an apple, cushioning 523 00:21:32,980 --> 00:21:36,760 or protecting our jawbone from our teeth. 524 00:21:36,760 --> 00:21:40,290 And inside the PDL there are all kinds of cells. 525 00:21:40,290 --> 00:21:42,830 One type, called mechanoreceptors, 526 00:21:42,830 --> 00:21:45,760 sense forces of movement or pressure applied to the tooth. 527 00:21:48,850 --> 00:21:53,140 Teeth sound like they're already perfectly designed. 528 00:21:53,140 --> 00:21:56,070 But sometimes we really need to force them 529 00:21:56,070 --> 00:21:58,432 in a certain direction. 530 00:21:58,432 --> 00:21:59,140 Like with braces. 531 00:22:13,720 --> 00:22:17,710 As the braces slowly force the teeth to move, 532 00:22:17,710 --> 00:22:21,070 the PDL gets squeezed in one direction 533 00:22:21,070 --> 00:22:25,350 and stretched in the other, kind of like a rubber band. 534 00:22:25,350 --> 00:22:27,180 Here's where it gets interesting. 535 00:22:27,180 --> 00:22:29,460 To make room, the mechanoreceptors 536 00:22:29,460 --> 00:22:33,570 in the PDL trigger cells called osteoclasts 537 00:22:33,570 --> 00:22:36,020 that actually come in and dissolve part 538 00:22:36,020 --> 00:22:38,690 of your jaw to make extra room. 539 00:22:38,690 --> 00:22:41,650 The mechanoreceptors also trigger another kind of cell, 540 00:22:41,650 --> 00:22:43,980 called an osteoblast, which comes in 541 00:22:43,980 --> 00:22:46,800 and builds up part of the jawbone. 542 00:22:46,800 --> 00:22:50,270 This allows the PDL to get back into its regular cushioning 543 00:22:50,270 --> 00:22:54,820 shape, thus holding the tooth securely in position. 544 00:22:54,820 --> 00:22:59,220 So if braces use osteoblasts to physically reposition teeth 545 00:22:59,220 --> 00:23:01,120 for cosmetic reasons, what if we want 546 00:23:01,120 --> 00:23:04,680 to use them to replace things in our bodies? 547 00:23:04,680 --> 00:23:06,910 Dental implants replace teeth that 548 00:23:06,910 --> 00:23:10,820 are damaged or missing to restore chewing function. 549 00:23:10,820 --> 00:23:13,460 And MIT engineers are using the properties 550 00:23:13,460 --> 00:23:17,110 of osteoblasts and osteoclasts that are already in our bodies 551 00:23:17,110 --> 00:23:20,180 to create a chemical coding for these implants. 552 00:23:20,180 --> 00:23:22,310 Just like in a mouth with braces, 553 00:23:22,310 --> 00:23:24,860 this coding helps create natural bone 554 00:23:24,860 --> 00:23:27,870 to help lock the implant into place. 555 00:23:27,870 --> 00:23:29,780 Your jaw isn't the only place where 556 00:23:29,780 --> 00:23:31,800 these osteoblasts and osteoclasts are 557 00:23:31,800 --> 00:23:33,640 altering your bone structure. 558 00:23:33,640 --> 00:23:36,530 In fact, this bony remodeling process 559 00:23:36,530 --> 00:23:39,040 is happening throughout your entire body. 560 00:23:39,040 --> 00:23:42,200 And these implants aren't just limited to teeth. 561 00:23:42,200 --> 00:23:49,240 Doctors can replace knees, hips, and even spinal disks. 562 00:23:49,240 --> 00:23:51,430 Right now, these implants are designed 563 00:23:51,430 --> 00:23:54,040 to have the exact same functionality as the parts 564 00:23:54,040 --> 00:23:55,510 that they're replacing. 565 00:23:55,510 --> 00:23:58,190 But in the future, scientists may even 566 00:23:58,190 --> 00:24:01,260 use implants to improve our brains. 567 00:24:01,260 --> 00:24:04,960 Just like with braces, we could modify our bodies 568 00:24:04,960 --> 00:24:08,710 to be more perfect. 569 00:24:08,710 --> 00:24:12,260 Once we've tasted the forbidden fruit of perfection, 570 00:24:12,260 --> 00:24:13,240 will we still be human? 571 00:24:18,440 --> 00:24:22,886 [END PLAYBACK] 572 00:24:24,197 --> 00:24:25,280 ELIZABETH CHOE: All right. 573 00:24:25,280 --> 00:24:28,479 So, Andrea, why do you think your video is boring? 574 00:24:28,479 --> 00:24:30,354 AUDIENCE: It's really dense with information. 575 00:24:36,198 --> 00:24:39,120 It also doesn't have very good settings in it, 576 00:24:39,120 --> 00:24:40,094 except for the office. 577 00:24:40,094 --> 00:24:43,016 And even in the office, the lighting-- 578 00:24:43,016 --> 00:24:45,960 there was just nothing I could do about the lighting. 579 00:24:45,960 --> 00:24:49,174 ELIZABETH CHOE: I think that one of the quickest fixes that you 580 00:24:49,174 --> 00:24:51,340 can do, and one that'll make the biggest difference, 581 00:24:51,340 --> 00:24:54,900 is that it's very slow moving. 582 00:24:54,900 --> 00:24:58,550 And I think it's because you are so conscious of fighting 583 00:24:58,550 --> 00:25:01,170 the tendency that most people have to deliver their lines too 584 00:25:01,170 --> 00:25:04,730 quickly that you're talking a lot slower than you usually do 585 00:25:04,730 --> 00:25:08,860 in real life, in a way that is clearly not you. 586 00:25:08,860 --> 00:25:12,270 And you could actually just play with speeding up 587 00:25:12,270 --> 00:25:13,519 how fast the video plays. 588 00:25:13,519 --> 00:25:15,060 We did that for one of the people who 589 00:25:15,060 --> 00:25:16,399 did Science Out Loud, actually. 590 00:25:16,399 --> 00:25:17,690 The same thing happened to her. 591 00:25:17,690 --> 00:25:19,273 As soon as the camera started rolling, 592 00:25:19,273 --> 00:25:22,070 she would talk just way slower than she normally does, 593 00:25:22,070 --> 00:25:25,630 and it just felt really unnaturally paced. 594 00:25:25,630 --> 00:25:29,620 And once we bumped up the speed to, like, 115%, 595 00:25:29,620 --> 00:25:34,000 it read a lot more normally and flowed a lot better. 596 00:25:34,000 --> 00:25:36,580 And I think in general, look at where 597 00:25:36,580 --> 00:25:40,120 you're cutting into new spaces. 598 00:25:40,120 --> 00:25:43,210 I think that you erred on the right side 599 00:25:43,210 --> 00:25:45,370 for your rough cut, which is to leave a little bit 600 00:25:45,370 --> 00:25:48,690 too much room at the beginning of each of your clips. 601 00:25:48,690 --> 00:25:51,600 But when you go in, really, you can shave off 602 00:25:51,600 --> 00:25:54,740 like a good second, half a second off of some of the clips 603 00:25:54,740 --> 00:25:57,630 that you're cutting, too. 604 00:25:57,630 --> 00:26:00,980 Instead of having a beat and then your action starting, 605 00:26:00,980 --> 00:26:04,510 just go straight into the action already happening. 606 00:26:04,510 --> 00:26:08,661 So I think that happen a couple times. 607 00:26:08,661 --> 00:26:09,660 [SKIPPING THROUGH VIDEO] 608 00:26:13,360 --> 00:26:15,300 For this opening shot I mean, just 609 00:26:15,300 --> 00:26:17,420 start it like half a beat before you say, 610 00:26:17,420 --> 00:26:20,190 eating is one of life's great necessities. 611 00:26:20,190 --> 00:26:23,150 I think you take these nice long pauses 612 00:26:23,150 --> 00:26:27,469 in between some of your thoughts to really let the viewer gather 613 00:26:27,469 --> 00:26:28,760 or comprehend what you've said. 614 00:26:28,760 --> 00:26:31,620 But some of the gaps are just really long. 615 00:26:31,620 --> 00:26:34,270 So you can either cut those out and maybe cut to a close 616 00:26:34,270 --> 00:26:38,910 up of you talking, or cut to B-roll in those cases. 617 00:26:38,910 --> 00:26:40,940 But I think that'll help a lot with just 618 00:26:40,940 --> 00:26:44,260 the sense of the movement of the overall video. 619 00:26:44,260 --> 00:26:47,420 Did anyone have other comments? 620 00:26:47,420 --> 00:26:48,800 Yeah, Kenneth. 621 00:26:48,800 --> 00:26:51,058 AUDIENCE: I remember in there you were a little scared 622 00:26:51,058 --> 00:26:52,056 to start filming. 623 00:26:52,056 --> 00:26:56,444 But I thought you felt pretty natural in front of us, 624 00:26:56,444 --> 00:27:00,539 and it didn't feel you were nervous or anything. 625 00:27:03,533 --> 00:27:06,277 Apart from the slow speed, I think actually you 626 00:27:06,277 --> 00:27:09,022 look quite natural. 627 00:27:09,022 --> 00:27:11,349 AUDIENCE: I was going to say that too. 628 00:27:11,349 --> 00:27:12,515 ELIZABETH CHOE: Yeah, David? 629 00:27:12,515 --> 00:27:16,008 AUDIENCE: I was thinking that one way to cut 630 00:27:16,008 --> 00:27:19,002 that down is when you look at a clip or you look at a song, 631 00:27:19,002 --> 00:27:20,501 so you cut right before the song. 632 00:27:20,501 --> 00:27:21,959 And then it's like a straight line. 633 00:27:23,944 --> 00:27:25,110 ELIZABETH CHOE: Wait, sorry. 634 00:27:25,110 --> 00:27:26,200 I didn't hear that. 635 00:27:26,200 --> 00:27:29,823 AUDIENCE: Plus, when you put the video as well as the sound. 636 00:27:29,823 --> 00:27:30,906 ELIZABETH CHOE: The sound? 637 00:27:30,906 --> 00:27:31,403 AUDIENCE: The sound wave. 638 00:27:31,403 --> 00:27:31,900 ELIZABETH CHOE: Oh, yeah. 639 00:27:31,900 --> 00:27:32,397 The sound wave. 640 00:27:32,397 --> 00:27:33,391 Yeah, the sound wave. 641 00:27:33,391 --> 00:27:34,385 That's a very good tip. 642 00:27:34,385 --> 00:27:37,864 AUDIENCE: Then I was thinking that I like the transitions. 643 00:27:37,864 --> 00:27:39,852 I find the transition very meaningful, 644 00:27:39,852 --> 00:27:42,337 and they help you continue the story. 645 00:27:45,897 --> 00:27:47,730 ELIZABETH CHOE: What were you having planned 646 00:27:47,730 --> 00:27:48,820 on this big section here? 647 00:27:48,820 --> 00:27:52,504 Was it supposed to be an animated section? 648 00:27:52,504 --> 00:27:57,330 AUDIENCE: I've been looking for images. 649 00:27:57,330 --> 00:27:59,850 FEMALE IN VIDEO: This is when we chew, say, an apple. 650 00:28:03,315 --> 00:28:05,130 AUDIENCE: I think one part that will 651 00:28:05,130 --> 00:28:08,265 help that felt really slow-- but maybe you 652 00:28:08,265 --> 00:28:11,730 put in there for a visual pause-- is the middle section 653 00:28:11,730 --> 00:28:14,974 when you were talking about putting on braces, 654 00:28:14,974 --> 00:28:16,515 and you did the whole sequence of you 655 00:28:16,515 --> 00:28:18,660 like putting on gloves like an orthodontist would. 656 00:28:22,620 --> 00:28:25,104 And it's good for comedic effect, 657 00:28:25,104 --> 00:28:28,422 but it kind of interrupted the video for me. 658 00:28:28,422 --> 00:28:31,320 And I think this is an instance of killing your darlings, 659 00:28:31,320 --> 00:28:34,701 where I don't know how long it took to film this. 660 00:28:34,701 --> 00:28:37,599 AUDIENCE: So should cut out everything in the office? 661 00:28:37,599 --> 00:28:41,730 AUDIENCE: No, I like-- like when we all laughed, 662 00:28:41,730 --> 00:28:43,175 that was a great reveal. 663 00:28:43,175 --> 00:28:45,050 And I think you can almost cut from this shot 664 00:28:45,050 --> 00:28:46,550 to the one with you with braces-- 665 00:28:46,550 --> 00:28:48,313 like when you say, with braces. 666 00:28:48,313 --> 00:28:51,019 Because you don't even say anything over this part. 667 00:28:51,019 --> 00:28:52,220 It was just kind of silent. 668 00:28:54,502 --> 00:28:55,960 AUDIENCE: I think she could keep it 669 00:28:55,960 --> 00:28:59,040 if she tightened it to like one second. 670 00:28:59,040 --> 00:29:00,420 We can get enough out of you just 671 00:29:00,420 --> 00:29:02,590 putting on-- starting to put on the glove 672 00:29:02,590 --> 00:29:04,410 and then transitioning to the next one. 673 00:29:04,410 --> 00:29:06,080 I think it's fun. 674 00:29:06,080 --> 00:29:08,550 I think that I agree with you that it's too long, 675 00:29:08,550 --> 00:29:10,810 but I think you could tighten it, really, 676 00:29:10,810 --> 00:29:12,597 and it would still get the impact. 677 00:29:12,597 --> 00:29:14,680 ELIZABETH CHOE: Comedy is really hard to pull off, 678 00:29:14,680 --> 00:29:17,120 like George was saying in the earlier workshop. 679 00:29:17,120 --> 00:29:20,700 But a lot of comedy that works in these types of videos, 680 00:29:20,700 --> 00:29:23,950 and that you'll see in SciShow or Veritasium 681 00:29:23,950 --> 00:29:26,070 or pretty much any popular YouTube channel, 682 00:29:26,070 --> 00:29:27,260 is that they're very quick. 683 00:29:27,260 --> 00:29:31,570 They're quick insertions of someone making a face or sort 684 00:29:31,570 --> 00:29:34,790 of an unexpected B-roll shot. 685 00:29:34,790 --> 00:29:37,490 And I think that I agree with Jaime. 686 00:29:37,490 --> 00:29:39,260 And you can play around with this. 687 00:29:39,260 --> 00:29:41,320 Play around with taking this part out completely, 688 00:29:41,320 --> 00:29:42,900 play around with shortening it. 689 00:29:42,900 --> 00:29:48,719 But it has a funnier effect when it's a lot shorter, 690 00:29:48,719 --> 00:29:51,010 because one, it doesn't interrupt the flow of the video 691 00:29:51,010 --> 00:29:51,880 as much. 692 00:29:51,880 --> 00:29:53,920 And also just gives a chance for the viewer 693 00:29:53,920 --> 00:29:56,150 to be like, wait, what just actually happened? 694 00:29:56,150 --> 00:29:59,650 It keeps them on their toes a little bit more. 695 00:29:59,650 --> 00:30:02,780 AUDIENCE: For that, I really like that part. 696 00:30:02,780 --> 00:30:04,200 The only thing I would suggest is 697 00:30:04,200 --> 00:30:08,360 that at the end when you reveal the braces to kind of show them 698 00:30:08,360 --> 00:30:11,430 for half a second longer so the viewers 699 00:30:11,430 --> 00:30:13,199 can notice that it's braces. 700 00:30:13,199 --> 00:30:15,365 AUDIENCE: Yeah, I think the braces shot was actually 701 00:30:15,365 --> 00:30:16,850 a little too short. 702 00:30:22,886 --> 00:30:24,427 ELIZABETH CHOE: And like right here-- 703 00:30:24,427 --> 00:30:26,912 AUDIENCE: How did you do that? 704 00:30:26,912 --> 00:30:27,906 The braces shot? 705 00:30:27,906 --> 00:30:30,400 Did they just put pretend braces on you for a minute? 706 00:30:30,400 --> 00:30:31,983 ELIZABETH CHOE: It was like a denture. 707 00:30:31,983 --> 00:30:32,847 AUDIENCE: Oh, OK. 708 00:30:32,847 --> 00:30:34,430 ELIZABETH CHOE: And this is an example 709 00:30:34,430 --> 00:30:37,510 of shaving off some of the beginnings of a clip. 710 00:30:40,320 --> 00:30:44,000 That is exactly where it starts, it's a good half a second. 711 00:30:44,000 --> 00:30:45,610 Which doesn't seem like much, but when 712 00:30:45,610 --> 00:30:48,235 you're watching a video it seems like an eternity-- half second 713 00:30:48,235 --> 00:30:51,128 that you can just take out completely. 714 00:30:51,128 --> 00:30:55,046 AUDIENCE: So how close to when the sound starts? 715 00:30:55,046 --> 00:30:58,700 Should you do it right there? 716 00:30:58,700 --> 00:31:02,150 ELIZABETH CHOE: I don't have a best practice of do it like 0.2 717 00:31:02,150 --> 00:31:03,500 seconds before it starts. 718 00:31:03,500 --> 00:31:07,120 But I think that, in general, having it as close to when 719 00:31:07,120 --> 00:31:09,120 you start talking is best. 720 00:31:09,120 --> 00:31:12,590 Because otherwise, it reads a little bit newscastery. 721 00:31:12,590 --> 00:31:15,470 Because you'll notice that on a Dateline special, 722 00:31:15,470 --> 00:31:18,880 the host will go, and I'll start talking. 723 00:31:18,880 --> 00:31:22,620 And that's what gives it the newscastery feel, versus a lot 724 00:31:22,620 --> 00:31:24,490 of YouTube channels and SciShow, they just 725 00:31:24,490 --> 00:31:29,302 go immediately as close to the soundwave starting as possible. 726 00:31:29,302 --> 00:31:31,266 AUDIENCE: Bring us two frames back. 727 00:31:31,266 --> 00:31:31,757 ELIZABETH CHOE: Two frames back? 728 00:31:31,757 --> 00:31:33,721 AUDIENCE: I usually go like two and three frames back. 729 00:31:33,721 --> 00:31:35,439 And then if that doesn't sound good, 730 00:31:35,439 --> 00:31:36,667 then adjust it from there. 731 00:31:43,080 --> 00:31:48,014 ELIZABETH CHOE: And who's doing Google Docs for Andrea? 732 00:31:48,014 --> 00:31:49,180 AUDIENCE: Nathan and Yuliya. 733 00:31:49,180 --> 00:31:52,720 ELIZABETH CHOE: Nathan and Yuliya. 734 00:31:52,720 --> 00:31:54,060 Any last comments for Andrea? 735 00:31:56,650 --> 00:31:59,850 I do want to emphasize-- and for the people who are just here 736 00:31:59,850 --> 00:32:02,880 for today-- it is a crazy amount of work 737 00:32:02,880 --> 00:32:05,100 that they're doing in such a small amount of time. 738 00:32:05,100 --> 00:32:07,820 We basically spent the first week not really 739 00:32:07,820 --> 00:32:09,460 touching cameras whatsoever. 740 00:32:09,460 --> 00:32:11,440 I mean, they were doing assignments them, 741 00:32:11,440 --> 00:32:13,860 but pre-production takes up so much time. 742 00:32:13,860 --> 00:32:17,770 So I think that the scripts that you guys have 743 00:32:17,770 --> 00:32:20,290 are really, really tight and really good. 744 00:32:20,290 --> 00:32:23,270 And I know that you're working under limited time and very, 745 00:32:23,270 --> 00:32:24,375 very limited resources. 746 00:32:24,375 --> 00:32:26,250 Like you were saying, you didn't have lights. 747 00:32:26,250 --> 00:32:28,708 And that makes a huge difference in what your final product 748 00:32:28,708 --> 00:32:30,350 looks like, so 749 00:32:30,350 --> 00:32:32,880 I'm really happy to see that people can identify-- 750 00:32:32,880 --> 00:32:35,387 this is what I think it's off about this video, 751 00:32:35,387 --> 00:32:37,220 I think this is what it would have improved. 752 00:32:37,220 --> 00:32:38,969 That's the stuff that really is important. 753 00:32:38,969 --> 00:32:42,550 And I think the scripts, and you guys really constructing 754 00:32:42,550 --> 00:32:44,350 compelling narratives around the topics 755 00:32:44,350 --> 00:32:46,890 that you were talking about, they've come such a long way 756 00:32:46,890 --> 00:32:47,860 from the first day. 757 00:32:47,860 --> 00:32:51,348 So I'm really happy to see that. 758 00:32:51,348 --> 00:32:52,794 AUDIENCE: It's ready, but I think 759 00:32:52,794 --> 00:32:53,758 you have to refresh the page. 760 00:32:53,758 --> 00:32:54,722 ELIZABETH CHOE: Oh, OK. 761 00:32:59,070 --> 00:32:59,810 This one? 762 00:32:59,810 --> 00:33:00,700 All right. 763 00:33:00,700 --> 00:33:03,873 Any words before we screen? 764 00:33:03,873 --> 00:33:04,914 AUDIENCE: No disclaimers. 765 00:33:07,487 --> 00:33:08,570 AUDIENCE: Yeah, it's good. 766 00:33:08,570 --> 00:33:09,750 It's fine, I hope. 767 00:33:09,750 --> 00:33:13,220 I just didn't like how I cut it, but I 768 00:33:13,220 --> 00:33:15,884 think it still is quite well. 769 00:33:15,884 --> 00:33:17,300 I haven't finished the animations, 770 00:33:17,300 --> 00:33:19,560 but yeah, some of it's in. 771 00:33:30,830 --> 00:33:32,820 [VIDEO PLAYBACK] 772 00:33:32,820 --> 00:33:34,890 -Imagine holding a party, and then 773 00:33:34,890 --> 00:33:38,410 sending out invitations after the party. 774 00:33:38,410 --> 00:33:40,839 Wait a minute-- that doesn't make any sense. 775 00:33:40,839 --> 00:33:42,630 Are my friends are going to be able to time 776 00:33:42,630 --> 00:33:44,840 travel back just so it's at my party? 777 00:33:44,840 --> 00:33:46,870 In 2009, Stephen Hawking actually 778 00:33:46,870 --> 00:33:50,280 conducted such an experiment to disprove time travel. 779 00:33:50,280 --> 00:33:53,760 What exactly is time travel, and how does it work? 780 00:33:53,760 --> 00:33:56,655 It actually has a lot to do with speed. 781 00:33:56,655 --> 00:33:58,780 A lot of what we know about time traveling actually 782 00:33:58,780 --> 00:34:02,120 comes from Einstein's theory of special and general relativity. 783 00:34:02,120 --> 00:34:04,340 We are actually time traveling right now, but not 784 00:34:04,340 --> 00:34:07,020 in the manner that sci-fi phi films have depicted them. 785 00:34:07,020 --> 00:34:11,199 We are, in fact, time traveling at a pace of one hour per hour. 786 00:34:11,199 --> 00:34:14,350 In other words, every hour I experience, the world around me 787 00:34:14,350 --> 00:34:16,600 experiences a singular hour too. 788 00:34:16,600 --> 00:34:19,709 Now, it may sound simple and trivial, but stay with me. 789 00:34:19,709 --> 00:34:21,125 This is where it gets interesting. 790 00:34:24,920 --> 00:34:28,260 Now, the lat part of Einstein's theory of special relativity 791 00:34:28,260 --> 00:34:31,360 is actually a phenomenon known as time dilation. 792 00:34:31,360 --> 00:34:33,679 Effectively, this means that the faster you travel, 793 00:34:33,679 --> 00:34:35,870 the slower time passes around you. 794 00:34:35,870 --> 00:34:37,510 It potentially means that I could 795 00:34:37,510 --> 00:34:41,400 travel at maybe more than one hour per hour. 796 00:34:41,400 --> 00:34:44,330 This phenomenon, however, is only noticeable at really, 797 00:34:44,330 --> 00:34:47,690 really high speeds-- speeds near the speed of light. 798 00:34:47,690 --> 00:34:51,810 This rocket here, not even close. 799 00:34:51,810 --> 00:34:54,159 Say I do a spaceship now that travels 800 00:34:54,159 --> 00:34:56,090 at 90% the speed of light. 801 00:34:56,090 --> 00:34:58,660 And I have a pair newborn twins. 802 00:34:58,660 --> 00:35:02,170 I bring one of them with me on this journey for 10 years. 803 00:35:02,170 --> 00:35:05,980 When I return, one of them will have turned 23 years old 804 00:35:05,980 --> 00:35:08,697 while the one with me will have only turned 10 years old. 805 00:35:08,697 --> 00:35:10,780 While we have experienced 10 years on a spaceship, 806 00:35:10,780 --> 00:35:13,020 23 years have actually passed on Earth. 807 00:35:13,020 --> 00:35:16,250 This amount of time actually increases exponentially 808 00:35:16,250 --> 00:35:19,190 as you get closer to the speed of light. 809 00:35:19,190 --> 00:35:23,613 So we could potentially travel forward in time. 810 00:35:23,613 --> 00:35:26,571 But what about backwards in time? 811 00:35:26,571 --> 00:35:28,543 That's a whole other issue. 812 00:35:31,501 --> 00:35:33,966 Now, remember our previous graph. 813 00:35:33,966 --> 00:35:36,210 The time that passed on Earth was 814 00:35:36,210 --> 00:35:38,341 asymptopic to the speed of light. 815 00:35:38,341 --> 00:35:40,632 Looks like we're seeing maybe the secret to time travel 816 00:35:40,632 --> 00:35:43,470 lies on the other side of the line. 817 00:35:43,470 --> 00:35:45,620 In other words, we may have to travel faster 818 00:35:45,620 --> 00:35:50,372 than the speed of light just to be able to travel back in time. 819 00:35:50,372 --> 00:35:53,858 Now, when you do travel near the speed of light, 820 00:35:53,858 --> 00:35:56,846 something called relativistic mass comes into play. 821 00:35:56,846 --> 00:36:00,830 In other words, as your speed goes up, your mass increases. 822 00:36:00,830 --> 00:36:03,316 As your mass increases, you require more energy 823 00:36:03,316 --> 00:36:04,316 to move the same object. 824 00:36:04,316 --> 00:36:08,051 This might mean that you need an infinite amount of energy 825 00:36:08,051 --> 00:36:10,790 just to move an object beyond the speed of light. 826 00:36:10,790 --> 00:36:13,944 The more energy you put into an object, the more likely 827 00:36:13,944 --> 00:36:16,019 you are to increase its mass rather than 828 00:36:16,019 --> 00:36:17,762 to increase its speed. 829 00:36:17,762 --> 00:36:20,252 Therefore, to get an object past the speed of light, 830 00:36:20,252 --> 00:36:23,830 quite impossible at this point in time. 831 00:36:23,830 --> 00:36:27,790 So why are we still so obsessed with time travel? 832 00:36:27,790 --> 00:36:32,040 Time travel does come with its own set of problems. 833 00:36:32,040 --> 00:36:33,690 Take for example my party before. 834 00:36:33,690 --> 00:36:36,964 If I were to send out my invitations after the party, 835 00:36:36,964 --> 00:36:39,172 my friends would have come back in time to attend it. 836 00:36:39,172 --> 00:36:41,450 And if they did come back in time to attend it, 837 00:36:41,450 --> 00:36:43,733 I wouldn't have sent out my invitations. 838 00:36:43,733 --> 00:36:46,150 And if I didn't send out my invitations, 839 00:36:46,150 --> 00:36:48,002 they wouldn't be at my party. 840 00:36:48,002 --> 00:36:51,360 It doesn't make any sense at all that they are both at my party 841 00:36:51,360 --> 00:36:52,750 and not at my party. 842 00:36:52,750 --> 00:36:55,370 This is what we call the grandfather paradox. 843 00:36:55,370 --> 00:36:57,250 It's one of three time travel problems 844 00:36:57,250 --> 00:36:59,250 that we currently have. 845 00:36:59,250 --> 00:37:02,000 So it seems that we may not be able to time travel 846 00:37:02,000 --> 00:37:05,810 yet, based on what physics tells us, at least. 847 00:37:05,810 --> 00:37:09,150 For now, if you are planning a party, 848 00:37:09,150 --> 00:37:11,250 be sure to send out the invites. 849 00:37:11,250 --> 00:37:13,210 Your friends can't time travel yet. 850 00:37:13,210 --> 00:37:15,162 [END PLAYBACK] 851 00:37:15,162 --> 00:37:18,090 [APPLAUSE] 852 00:37:20,050 --> 00:37:22,920 ELIZABETH CHOE: All right, any comments from Kenneth first? 853 00:37:22,920 --> 00:37:25,545 AUDIENCE: OK, I didn't know that the warp stabilizer on YouTube 854 00:37:25,545 --> 00:37:26,767 was like that. 855 00:37:26,767 --> 00:37:29,100 ELIZABETH CHOE: Oh, you tried the stabilizer on YouTube. 856 00:37:29,100 --> 00:37:32,870 AUDIENCE: Because I new I had to stabilize some of my footage, 857 00:37:32,870 --> 00:37:35,815 and they were taking a very long time on Premier. 858 00:37:35,815 --> 00:37:37,190 So I just popped it on to YouTube 859 00:37:37,190 --> 00:37:38,648 and just let YouTube stabilized it. 860 00:37:38,648 --> 00:37:41,430 But I didn't know that it did it very liberally. 861 00:37:44,066 --> 00:37:47,085 So I realize a lot of my shots got like this warpy effect, 862 00:37:47,085 --> 00:37:50,270 and some of my text got cut out, and what not. 863 00:37:50,270 --> 00:37:53,015 But yeah, and I'm sorry that the audio for this whole chunk 864 00:37:53,015 --> 00:37:55,390 just kind of got warped because I 865 00:37:55,390 --> 00:37:57,702 had to use my other camera, which I didn't want to. 866 00:37:57,702 --> 00:38:00,160 ELIZABETH CHOE: Oh, you used your DSLR for the middle part, 867 00:38:00,160 --> 00:38:00,660 right? 868 00:38:00,660 --> 00:38:02,250 I mean it's a trade-off, because it 869 00:38:02,250 --> 00:38:05,060 looks way better than the camcorders that we have. 870 00:38:05,060 --> 00:38:06,860 But the camera that he has doesn't 871 00:38:06,860 --> 00:38:10,370 have an input for the mic. 872 00:38:10,370 --> 00:38:12,910 Yeah, it's really hard to understand that part. 873 00:38:12,910 --> 00:38:13,410 Yeah, PJ? 874 00:38:13,410 --> 00:38:14,910 AUDIENCE: With these scenes, though, 875 00:38:14,910 --> 00:38:16,912 we were talking about doing this walking down. 876 00:38:16,912 --> 00:38:19,372 It was just tough to have a ten foot tether 877 00:38:19,372 --> 00:38:20,848 to do some of these. 878 00:38:20,848 --> 00:38:25,276 And I thought that came out really good-- that video part. 879 00:38:25,276 --> 00:38:28,570 AUDIENCE: Could you try a voiceover? 880 00:38:28,570 --> 00:38:31,420 AUDIENCE: Yeah, I was thinking about putting that in. 881 00:38:31,420 --> 00:38:33,189 AUDIENCE: Because it's far away enough 882 00:38:33,189 --> 00:38:35,630 where I don't think it matters. 883 00:38:35,630 --> 00:38:38,290 ELIZABETH CHOE: Yeah, you could try lip dubbing basically. 884 00:38:38,290 --> 00:38:41,140 I have one pair of wireless mics, 885 00:38:41,140 --> 00:38:45,090 if you do want to try shooting it. 886 00:38:45,090 --> 00:38:47,312 I mean, it may be a little too much 887 00:38:47,312 --> 00:38:49,020 to throw in at the last minute, because I 888 00:38:49,020 --> 00:38:51,800 do agree that this part is-- 889 00:38:51,800 --> 00:38:52,900 [SKIPPING THROUGH VIDEO] 890 00:38:53,400 --> 00:38:55,130 It's hard, but I mean, I also think 891 00:38:55,130 --> 00:38:56,720 that having that wide of an angle 892 00:38:56,720 --> 00:38:58,210 is important in that shot. 893 00:38:58,210 --> 00:39:00,540 So I understand using the mic was sort 894 00:39:00,540 --> 00:39:03,320 of not really an option there. 895 00:39:03,320 --> 00:39:08,850 But I do think that voiceover is a good option. 896 00:39:08,850 --> 00:39:10,120 And especially this part. 897 00:39:10,120 --> 00:39:11,980 It's a long walk and talk, and-- 898 00:39:11,980 --> 00:39:13,730 MALE IN VIDEO: --example, my party before. 899 00:39:13,730 --> 00:39:15,830 If I were to send out my message-- 900 00:39:15,830 --> 00:39:19,820 ELIZABETH CHOE: And the audio is so distractingly unclear, 901 00:39:19,820 --> 00:39:22,964 and this is such a crucial sort of inherently 902 00:39:22,964 --> 00:39:24,380 hard to understand portion anyway, 903 00:39:24,380 --> 00:39:27,900 that I think that it's really important to have clear audio. 904 00:39:27,900 --> 00:39:31,320 And I don't know if you can just shoot B-roll to do voiceover 905 00:39:31,320 --> 00:39:33,170 for this. 906 00:39:33,170 --> 00:39:37,700 Because it's a little-- the setting and what you're saying 907 00:39:37,700 --> 00:39:41,240 don't necessarily match up to me right away. 908 00:39:41,240 --> 00:39:44,214 But I also like the feel that you were going 909 00:39:44,214 --> 00:39:45,380 for with this walk and talk. 910 00:39:45,380 --> 00:39:49,040 I can tell that you were drawing a lot of Veritasium influences 911 00:39:49,040 --> 00:39:52,240 with the beginning, and you did the whole Michael Stevens 912 00:39:52,240 --> 00:39:55,300 Vsauce head up, which I think are fun. 913 00:39:55,300 --> 00:39:57,680 Because you're taking something that is typically 914 00:39:57,680 --> 00:40:03,550 a very robust science topic and sort of presenting it in a very 915 00:40:03,550 --> 00:40:05,500 casual, like, I'm just your friend 916 00:40:05,500 --> 00:40:07,646 talking about time travel type of way that makes 917 00:40:07,646 --> 00:40:08,770 it a lot less intimidating. 918 00:40:08,770 --> 00:40:09,978 Which I think is really nice. 919 00:40:09,978 --> 00:40:11,490 It's a nice feel for the video. 920 00:40:14,610 --> 00:40:17,120 Any comments from anyone else? 921 00:40:17,120 --> 00:40:18,100 Yeah. 922 00:40:18,100 --> 00:40:21,390 AUDIENCE: It's sounded really well in its complete form. 923 00:40:21,390 --> 00:40:23,550 Even though-- like the script, there 924 00:40:23,550 --> 00:40:25,200 was a lot of technical detail. 925 00:40:25,200 --> 00:40:27,370 It didn't read like that at all. 926 00:40:27,370 --> 00:40:30,260 The only part here was that when you were walking and describing 927 00:40:30,260 --> 00:40:34,260 the grandfather paradox, I know we also shot the party. 928 00:40:34,260 --> 00:40:36,250 AUDIENCE: Yeah, I was thinking of putting 929 00:40:36,250 --> 00:40:38,160 that in split screen, but I-- 930 00:40:38,160 --> 00:40:40,340 ELIZABETH CHOE: Oh, you actually shot a fake party? 931 00:40:40,340 --> 00:40:40,710 AUDIENCE: Yeah 932 00:40:40,710 --> 00:40:42,570 ELIZABETH CHOE: I think that it would be a really good option 933 00:40:42,570 --> 00:40:44,195 to try playing around with that footage 934 00:40:44,195 --> 00:40:45,762 and just using voiceover there. 935 00:40:45,762 --> 00:40:47,470 AUDIENCE: I only put it at half a screen, 936 00:40:47,470 --> 00:40:49,579 because I'm keeping to the left of the screen 937 00:40:49,579 --> 00:40:50,870 so I have it on the right side. 938 00:40:50,870 --> 00:40:51,870 ELIZABETH CHOE: Yeah. 939 00:40:51,870 --> 00:40:54,330 Is it super important that you maintain 940 00:40:54,330 --> 00:40:56,050 this footage of you talking? 941 00:40:56,050 --> 00:40:58,640 Or can you just cut to straight B-roll of the party? 942 00:40:58,640 --> 00:41:00,723 AUDIENCE: I thought it would be a nice transitions 943 00:41:00,723 --> 00:41:02,079 to walk into the last scene. 944 00:41:02,079 --> 00:41:03,120 ELIZABETH CHOE: Oh, yeah. 945 00:41:03,120 --> 00:41:05,370 I mean, I can tell that you were very conscious of how 946 00:41:05,370 --> 00:41:07,426 your cuts were being made. 947 00:41:07,426 --> 00:41:09,176 MALE IN VIDEO: --the grandfather paradox-- 948 00:41:12,031 --> 00:41:14,280 ELIZABETH CHOE: I think that this opening one and some 949 00:41:14,280 --> 00:41:16,690 of your pans are really slow. 950 00:41:16,690 --> 00:41:19,950 So you could cut the clip right before it lands on you 951 00:41:19,950 --> 00:41:21,570 and just speed up the pan. 952 00:41:24,640 --> 00:41:26,910 This part especially. 953 00:41:26,910 --> 00:41:28,149 It just feels very nice. 954 00:41:28,149 --> 00:41:30,190 MALE IN VIDEO: --sci-fi films have depicted them. 955 00:41:30,190 --> 00:41:34,560 We are, in fact, time traveling at a pace of one hour per hour. 956 00:41:34,560 --> 00:41:37,190 ELIZABETH CHOE: The script is a lot better here. 957 00:41:37,190 --> 00:41:39,224 It's really good. 958 00:41:39,224 --> 00:41:40,640 MALE IN VIDEO: --speeds near the-- 959 00:41:40,640 --> 00:41:43,223 ELIZABETH CHOE: And this too is a really good visual reference 960 00:41:43,223 --> 00:41:44,552 there. 961 00:41:44,552 --> 00:41:45,927 AUDIENCE: I really liked whatever 962 00:41:45,927 --> 00:41:47,667 you did to animate the graph. 963 00:41:47,667 --> 00:41:49,655 I was like, mind blown. 964 00:41:49,655 --> 00:41:51,146 I don't know if I could do that. 965 00:41:51,146 --> 00:41:53,631 But it looked really nice because it followed your finger 966 00:41:53,631 --> 00:41:54,630 and everything. 967 00:41:54,630 --> 00:41:56,990 ELIZABETH CHOE: Yeah, how did you do that? 968 00:41:56,990 --> 00:41:59,365 AUDIENCE: I kept a screenshot there, 969 00:41:59,365 --> 00:42:02,380 and I imported for the shot that I drew everything over. 970 00:42:02,380 --> 00:42:04,512 This amount of time actually increases-- 971 00:42:04,512 --> 00:42:06,970 ELIZABETH CHOE: But YouTube cut it off right at the bottom. 972 00:42:06,970 --> 00:42:07,720 OK, that's what I figured what happened. 973 00:42:07,720 --> 00:42:08,730 AUDIENCE: Yeah, it was supposed to be nice frame. 974 00:42:08,730 --> 00:42:10,972 I don't know why they even warped this. 975 00:42:10,972 --> 00:42:13,180 ELIZABETH CHOE: Yeah, I mean, take the stabilizer out 976 00:42:13,180 --> 00:42:15,900 and just do a closeup shot of you. 977 00:42:15,900 --> 00:42:17,750 Because that's really nice. 978 00:42:17,750 --> 00:42:20,840 Are you going to do it for this part too? 979 00:42:20,840 --> 00:42:22,600 AUDIENCE: I was thinking that I should. 980 00:42:22,600 --> 00:42:23,320 ELIZABETH CHOE: I think you should, 981 00:42:23,320 --> 00:42:25,340 just because like you're throwing in the graph 982 00:42:25,340 --> 00:42:28,664 and you have the asymptote, and it's just such a key part. 983 00:42:28,664 --> 00:42:31,080 Something that I didn't know until you read the script out 984 00:42:31,080 --> 00:42:32,720 loud to us-- really cool, the idea 985 00:42:32,720 --> 00:42:35,080 of looking at the other side of the graph. 986 00:42:35,080 --> 00:42:37,680 So, I know it's more work for you, 987 00:42:37,680 --> 00:42:39,030 but I think it would look cool. 988 00:42:42,140 --> 00:42:43,980 Who's commenting on Kennith's? 989 00:42:47,740 --> 00:42:49,630 AUDIENCE: Yuliya and Andrea. 990 00:42:49,630 --> 00:42:52,182 ELIZABETH CHOE: Yuliya and Andrea, great. 991 00:42:52,182 --> 00:42:53,640 AUDIENCE: I really like the ending. 992 00:42:53,640 --> 00:42:55,973 ELIZABETH CHOE: Yeah, the beginning and ending, you book 993 00:42:55,973 --> 00:42:57,910 ended it very nicely. 994 00:42:57,910 --> 00:43:00,330 Very good. 995 00:43:00,330 --> 00:43:03,320 I'm very happy with how people have taken their scripts 996 00:43:03,320 --> 00:43:05,980 and really created a point and a story around it. 997 00:43:05,980 --> 00:43:08,300 I don't think any of these drafts 998 00:43:08,300 --> 00:43:10,680 are instructional videos whatsoever. 999 00:43:10,680 --> 00:43:12,730 You've taken all these concepts-- 1000 00:43:12,730 --> 00:43:14,230 and we talked a lot at the beginning 1001 00:43:14,230 --> 00:43:18,400 about tying specific examples and allowing 1002 00:43:18,400 --> 00:43:21,160 a specific instance to let you hit these bigger points. 1003 00:43:21,160 --> 00:43:23,800 And I think everyone's really done a nice job of doing that 1004 00:43:23,800 --> 00:43:24,591 with their scripts. 1005 00:43:27,680 --> 00:43:30,040 All right, next up we have Joshua. 1006 00:43:30,040 --> 00:43:31,550 You ready? 1007 00:43:31,550 --> 00:43:32,790 AUDIENCE: Yeah. 1008 00:43:32,790 --> 00:43:34,106 ELIZABETH CHOE: Any comments? 1009 00:43:34,106 --> 00:43:36,310 AUDIENCE: I haven't put in the animations yet, 1010 00:43:36,310 --> 00:43:38,782 so there will be a part where there's a blank space. 1011 00:43:38,782 --> 00:43:40,990 But the blank table is supposed to be the animations. 1012 00:43:43,884 --> 00:43:44,550 [VIDEO PLAYBACK] 1013 00:43:44,550 --> 00:43:46,690 -Hi, have you found it particularly difficult 1014 00:43:46,690 --> 00:43:49,370 to find a specific item in your house? 1015 00:43:49,370 --> 00:43:51,570 Let's say you're looking for a pair of gloves, 1016 00:43:51,570 --> 00:43:54,890 but you just can't find it and you spend your entire afternoon 1017 00:43:54,890 --> 00:43:56,400 looking for it. 1018 00:43:56,400 --> 00:43:58,790 Well, you've just encountered the same problem 1019 00:43:58,790 --> 00:44:01,590 that companies like Google or Microsoft 1020 00:44:01,590 --> 00:44:04,390 encounter every single day. 1021 00:44:04,390 --> 00:44:06,660 And that's the problem of search. 1022 00:44:06,660 --> 00:44:09,500 Just like a house, which stores thousands of different items, 1023 00:44:09,500 --> 00:44:13,870 Google stores 45 billion index pages of information. 1024 00:44:13,870 --> 00:44:16,400 When if every page was a sheet of paper 1025 00:44:16,400 --> 00:44:18,415 and we stick them up real high, we 1026 00:44:18,415 --> 00:44:24,430 will create a tower 600 times taller than Mount Everest. 1027 00:44:24,430 --> 00:44:27,000 Well can Google find my results so quickly 1028 00:44:27,000 --> 00:44:31,240 when I find so difficult to find a pair of gloves? 1029 00:44:31,240 --> 00:44:32,800 Well, searching on Google is kind 1030 00:44:32,800 --> 00:44:37,220 of looking for a person in a big school. 1031 00:44:37,220 --> 00:44:40,130 Let's say you're looking for James in the row of classrooms. 1032 00:44:40,130 --> 00:44:41,850 One of the easiest method would be 1033 00:44:41,850 --> 00:44:47,180 to go to every classroom nearest to you until you find James. 1034 00:44:47,180 --> 00:44:50,310 There's a better method known as binary search. 1035 00:44:50,310 --> 00:44:52,180 Let's say the students were arranged 1036 00:44:52,180 --> 00:44:57,280 from A to Z in an increasing number of the classrooms. 1037 00:44:57,280 --> 00:45:00,040 And let's say we head to the middle room first, 1038 00:45:00,040 --> 00:45:02,880 and if the person in the middle room isn't James, 1039 00:45:02,880 --> 00:45:05,600 but his name starts with a letter before j, 1040 00:45:05,600 --> 00:45:06,890 we head to the right. 1041 00:45:06,890 --> 00:45:08,950 If not, we head to the left. 1042 00:45:08,950 --> 00:45:13,440 We then approach the middle room in the newly sectioned area. 1043 00:45:13,440 --> 00:45:15,320 We rinse and repeat. 1044 00:45:15,320 --> 00:45:18,910 Eventually we will find James just like the first method, 1045 00:45:18,910 --> 00:45:24,350 but we find him in a much faster way with the second method. 1046 00:45:24,350 --> 00:45:26,560 How much faster would that be? 1047 00:45:26,560 --> 00:45:29,560 Well, that depends on the number of students in the school. 1048 00:45:29,560 --> 00:45:32,700 Let's say there are 500 students and we're looking for one, 1049 00:45:32,700 --> 00:45:35,350 it would take about 80 minutes in the first manner, 1050 00:45:35,350 --> 00:45:38,880 but one and a half minutes with binary search. 1051 00:45:38,880 --> 00:45:41,510 But let's say they are 1,000 students in the school, 1052 00:45:41,510 --> 00:45:45,260 it would take 160 minutes with the first method 1053 00:45:45,260 --> 00:45:49,310 but 1.6 minutes with the second method. 1054 00:45:49,310 --> 00:45:52,390 Now, that's a whole lot of difference. 1055 00:45:52,390 --> 00:45:54,050 So a name is just a word. 1056 00:45:54,050 --> 00:45:57,720 But Google searches a combination of words, 1057 00:45:57,720 --> 00:46:00,770 making it a little bit more complicated. 1058 00:46:00,770 --> 00:46:04,240 So just like how we identify the first letter of each alphabet 1059 00:46:04,240 --> 00:46:08,970 of the name, Google identifies 200 unique factors making 1060 00:46:08,970 --> 00:46:11,840 your search terms faster. 1061 00:46:11,840 --> 00:46:14,480 If you recall, the effectiveness of binary search 1062 00:46:14,480 --> 00:46:17,890 depends on the prearrangement of data. 1063 00:46:17,890 --> 00:46:20,190 And that's why computer scientist are actively 1064 00:46:20,190 --> 00:46:24,290 looking for ways to sort, manage, and eventually retrieve 1065 00:46:24,290 --> 00:46:27,310 data fast and better. 1066 00:46:27,310 --> 00:46:31,090 In the same way, the TV remote goes near the TV, 1067 00:46:31,090 --> 00:46:34,900 the shoes go to the shoe rack, the coats go into the cupboard 1068 00:46:34,900 --> 00:46:38,300 and the winter gloves go into the winter jacket. 1069 00:46:38,300 --> 00:46:39,260 Aha! 1070 00:46:39,260 --> 00:46:40,760 So that's where my gloves are. 1071 00:46:40,760 --> 00:46:42,656 [END PLAYBACK] 1072 00:46:42,656 --> 00:46:45,974 [APPLAUSE] 1073 00:46:48,109 --> 00:46:49,900 ELIZABETH CHOE: Joshua, what are the things 1074 00:46:49,900 --> 00:46:52,108 that you like about your cut, and what are the things 1075 00:46:52,108 --> 00:46:54,970 that you don't like about it? 1076 00:46:54,970 --> 00:46:56,880 AUDIENCE: I guess I like the opening. 1077 00:46:56,880 --> 00:47:02,110 But I realize-- there were times where 1078 00:47:02,110 --> 00:47:06,120 I realized I have a better take, but it's 1079 00:47:06,120 --> 00:47:10,622 because they clicked it but I started earlier. 1080 00:47:10,622 --> 00:47:12,080 ELIZABETH CHOE: So there were takes 1081 00:47:12,080 --> 00:47:13,970 where you got cut off just at the beginning 1082 00:47:13,970 --> 00:47:14,960 or something like that. 1083 00:47:14,960 --> 00:47:18,030 AUDIENCE: So I realize I should have much, 1084 00:47:18,030 --> 00:47:20,680 much more takes, because you never know what happens. 1085 00:47:20,680 --> 00:47:25,140 And I had to scrap out an entire scene 1086 00:47:25,140 --> 00:47:27,430 because I was in a location where they had just 1087 00:47:27,430 --> 00:47:29,350 started preparing for some event, 1088 00:47:29,350 --> 00:47:31,152 and then everything became very noisy. 1089 00:47:31,152 --> 00:47:33,610 ELIZABETH CHOE: Yeah, so there were like last minute things 1090 00:47:33,610 --> 00:47:36,570 that came up in your locations. 1091 00:47:36,570 --> 00:47:38,930 AUDIENCE: I do recognize that the one where 1092 00:47:38,930 --> 00:47:42,370 I'm supposed to do animations the sound is off, 1093 00:47:42,370 --> 00:47:46,047 and the visuals are not really there yet. 1094 00:47:46,047 --> 00:47:47,630 ELIZABETH CHOE: You mean the one where 1095 00:47:47,630 --> 00:47:49,001 you're looking at the desk? 1096 00:47:49,001 --> 00:47:50,250 AUDIENCE: Yeah, at the black-- 1097 00:47:50,250 --> 00:47:51,579 [SKIPPING THROUGH VIDEO] 1098 00:47:51,579 --> 00:47:53,870 AUDIENCE: Yeah, there's supposed to be animations here, 1099 00:47:53,870 --> 00:47:56,670 but I guess this is not probably the best one. 1100 00:47:56,670 --> 00:47:59,253 ELIZABETH CHOE: You were going to have your animations come up 1101 00:47:59,253 --> 00:48:00,940 here with your hotel room-- or your-- 1102 00:48:00,940 --> 00:48:02,440 AUDIENCE: If I have to redo a scene, 1103 00:48:02,440 --> 00:48:06,036 this scene is the most inconsistent among the rest. 1104 00:48:06,036 --> 00:48:08,410 ELIZABETH CHOE: This was one where you were filming later 1105 00:48:08,410 --> 00:48:09,070 in the day. 1106 00:48:09,070 --> 00:48:11,430 AUDIENCE: Yes, this one was my first day, 1107 00:48:11,430 --> 00:48:13,070 but later in the evening. 1108 00:48:13,070 --> 00:48:14,960 And then the next day the rest. 1109 00:48:14,960 --> 00:48:18,389 Everything else in the next day except this. 1110 00:48:18,389 --> 00:48:20,884 AUDIENCE: I think in this piece, because A, 1111 00:48:20,884 --> 00:48:22,381 we don't have the animation, but B, 1112 00:48:22,381 --> 00:48:25,305 your eyes are looking at the animation as opposed 1113 00:48:25,305 --> 00:48:28,340 to still talking to the screen-- and I 1114 00:48:28,340 --> 00:48:30,840 think, from my perspective, I feel like there's a little bit 1115 00:48:30,840 --> 00:48:34,340 more of balance at play there of connecting with the audience 1116 00:48:34,340 --> 00:48:35,549 a little with your eyes. 1117 00:48:35,549 --> 00:48:37,340 Like if you're going to reshoot it, for me, 1118 00:48:37,340 --> 00:48:40,550 I think balancing looking down and still looking back 1119 00:48:40,550 --> 00:48:42,710 instead of just looking down during the animation 1120 00:48:42,710 --> 00:48:45,550 and then looking back at the end. 1121 00:48:45,550 --> 00:48:47,722 ELIZABETH CHOE: Looking at the animation is good. 1122 00:48:47,722 --> 00:48:48,930 It's kind of fun thing to do. 1123 00:48:48,930 --> 00:48:52,779 But again, look and acknowledge the audience as well. 1124 00:48:52,779 --> 00:48:54,570 I think this one, it's really just a matter 1125 00:48:54,570 --> 00:48:56,370 of energy level here. 1126 00:48:56,370 --> 00:48:59,220 Overall, your delivery is very nice. 1127 00:48:59,220 --> 00:49:01,410 It's a very natural. 1128 00:49:01,410 --> 00:49:02,990 I love the script. 1129 00:49:02,990 --> 00:49:05,900 Again, you're taking something that's very hard to visualize, 1130 00:49:05,900 --> 00:49:07,030 and that's why-- 1131 00:49:07,030 --> 00:49:08,120 You know, we were trying to figure out 1132 00:49:08,120 --> 00:49:09,994 what topic to do when you were brainstorming, 1133 00:49:09,994 --> 00:49:14,060 and there were just no videos on binary search, which 1134 00:49:14,060 --> 00:49:15,110 was shocking to me. 1135 00:49:15,110 --> 00:49:17,680 Or there aren't very many good ones. 1136 00:49:17,680 --> 00:49:20,600 And there aren't very many videos on how Google works, 1137 00:49:20,600 --> 00:49:21,426 period. 1138 00:49:21,426 --> 00:49:23,300 And it's because it's very hard to visualize. 1139 00:49:23,300 --> 00:49:25,730 And I think you've done a nice job. 1140 00:49:25,730 --> 00:49:29,226 The only thing is this last scene. 1141 00:49:29,226 --> 00:49:32,470 The delivery is great. 1142 00:49:32,470 --> 00:49:35,180 But I almost would like to see this done in a computer 1143 00:49:35,180 --> 00:49:38,170 lab or something instead of in front of the Microsoft Office. 1144 00:49:38,170 --> 00:49:42,200 I know that you were trying to work with sort of that Kendall 1145 00:49:42,200 --> 00:49:46,490 Tech area, but it reads like a little maybe product 1146 00:49:46,490 --> 00:49:49,020 placement-y. 1147 00:49:49,020 --> 00:49:51,240 So if you want to reshoot that one if you have time, 1148 00:49:51,240 --> 00:49:54,090 I would say there are computer labs here that I can 1149 00:49:54,090 --> 00:49:55,770 help get you into if you want. 1150 00:49:59,000 --> 00:50:02,040 Were you going to have animations in this scene? 1151 00:50:02,040 --> 00:50:05,580 AUDIENCE: This would be just a number that pops up 1152 00:50:05,580 --> 00:50:07,290 and then a number below. 1153 00:50:07,290 --> 00:50:09,657 ELIZABETH CHOE: I think that sparing use of labels 1154 00:50:09,657 --> 00:50:11,740 will also help this video too, like when you first 1155 00:50:11,740 --> 00:50:14,390 introduce the term binary search, have come up. 1156 00:50:14,390 --> 00:50:16,230 When you talk about the numbers. 1157 00:50:16,230 --> 00:50:18,190 Numbers are hard to keep track of in a video, 1158 00:50:18,190 --> 00:50:20,310 so just having those pop up. 1159 00:50:20,310 --> 00:50:25,766 AUDIENCE: So it would just be first measure 80 minutes 1160 00:50:25,766 --> 00:50:27,224 and binary search 1.5. 1161 00:50:27,224 --> 00:50:28,270 ELIZABETH CHOE: Yeah, something like that. 1162 00:50:28,270 --> 00:50:29,270 Something really simple. 1163 00:50:29,270 --> 00:50:31,480 And you've got a good background for it, 1164 00:50:31,480 --> 00:50:34,770 so I would go and take advantage of it. 1165 00:50:34,770 --> 00:50:36,769 AUDIENCE: You have such a smiley presence that's 1166 00:50:36,769 --> 00:50:38,650 so engaging on the camera. 1167 00:50:38,650 --> 00:50:40,640 You have such positive energy up there. 1168 00:50:40,640 --> 00:50:43,182 It's like you kind of want to smile while you're watching it. 1169 00:50:43,182 --> 00:50:44,556 ELIZABETH CHOE: And again, you're 1170 00:50:44,556 --> 00:50:47,070 taking something that is a seemingly intimidating subject, 1171 00:50:47,070 --> 00:50:50,340 which again is why it's very hard to find videos on computer 1172 00:50:50,340 --> 00:50:54,930 science, and even more rare to find a live hosted video 1173 00:50:54,930 --> 00:50:56,110 on computer science. 1174 00:50:56,110 --> 00:50:57,960 All the ones that are out there are usually 1175 00:50:57,960 --> 00:51:01,000 some sort of voiceover animated tutorial, 1176 00:51:01,000 --> 00:51:04,340 and I think that having you on screen being 1177 00:51:04,340 --> 00:51:07,540 the guide for the audience with this is very, very nice. 1178 00:51:07,540 --> 00:51:08,520 It's very powerful. 1179 00:51:08,520 --> 00:51:12,240 AUDIENCE: Could you go back to the beginning of that, where 1180 00:51:12,240 --> 00:51:14,564 you're in front of the desk and about to point 1181 00:51:14,564 --> 00:51:17,870 at the animation? 1182 00:51:17,870 --> 00:51:20,020 MALE IN VIDEO: --find James. 1183 00:51:20,020 --> 00:51:23,043 There's a better method known as binary-- 1184 00:51:23,043 --> 00:51:25,382 AUDIENCE: I feel like someone just told you a joke 1185 00:51:25,382 --> 00:51:26,340 and we missed the joke. 1186 00:51:26,340 --> 00:51:29,420 And you're like kind of about to die laughing. 1187 00:51:29,420 --> 00:51:32,360 I don't know if you guys felt that same way when you saw it. 1188 00:51:32,360 --> 00:51:34,320 Did someone tell you something really funny? 1189 00:51:34,320 --> 00:51:35,160 AUDIENCE: I couldn't figure it out. 1190 00:51:35,160 --> 00:51:36,870 I don't know why I behaved like that. 1191 00:51:36,870 --> 00:51:38,044 I do remember a joke. 1192 00:51:38,044 --> 00:51:38,960 I did remember a joke. 1193 00:51:41,920 --> 00:51:44,262 AUDIENCE: I wanted to be like, what was so funny? 1194 00:51:44,262 --> 00:51:46,722 There's something funny going on here? 1195 00:51:46,722 --> 00:51:49,430 AUDIENCE: I must have saw something that he was doing. 1196 00:51:49,430 --> 00:51:51,175 Maybe he was in an awkward position. 1197 00:51:53,999 --> 00:51:55,582 AUDIENCE: I mean, I think you're going 1198 00:51:55,582 --> 00:51:57,860 to refilm this one anyway, but if you 1199 00:51:57,860 --> 00:52:00,909 do-- it was funny because in this moment I was thinking, 1200 00:52:00,909 --> 00:52:03,440 there was something funny that must have just happened, 1201 00:52:03,440 --> 00:52:06,020 and I don't know what it is. 1202 00:52:06,020 --> 00:52:08,630 ELIZABETH CHOE: What was I going to say? 1203 00:52:08,630 --> 00:52:11,780 For the shots that you did at the Koch Institute, 1204 00:52:11,780 --> 00:52:14,580 I think you can just center this. 1205 00:52:14,580 --> 00:52:16,119 Center it close enough. 1206 00:52:16,119 --> 00:52:18,160 Because I know you're trying rule of thirds here, 1207 00:52:18,160 --> 00:52:23,200 but there's sort of like-- it's non-homogeneous distribution 1208 00:52:23,200 --> 00:52:24,907 of this pattern in the background, 1209 00:52:24,907 --> 00:52:27,240 so it looks a little weird to have all this extra space. 1210 00:52:27,240 --> 00:52:29,040 So I would go ahead and just center this. 1211 00:52:29,040 --> 00:52:31,955 What do you guys think about the music in this video? 1212 00:52:31,955 --> 00:52:33,260 It's good? 1213 00:52:33,260 --> 00:52:35,020 It's a little light-hearted. 1214 00:52:35,020 --> 00:52:38,610 It doesn't play into the whole computer science 1215 00:52:38,610 --> 00:52:39,830 trope, which is nice. 1216 00:52:39,830 --> 00:52:41,562 I would bring-- go ahead. 1217 00:52:41,562 --> 00:52:44,418 AUDIENCE: I thought it was like 1950s suburbia, middle America 1218 00:52:44,418 --> 00:52:46,165 thing. 1219 00:52:46,165 --> 00:52:48,040 ELIZABETH CHOE: I would bring down the levels 1220 00:52:48,040 --> 00:52:49,280 just a little bit. 1221 00:52:49,280 --> 00:52:52,230 In the opening it's fine, but as it progressed, 1222 00:52:52,230 --> 00:52:56,340 I would either up your recorded levels for your own audio 1223 00:52:56,340 --> 00:52:59,120 or lower the music. 1224 00:52:59,120 --> 00:53:02,230 Once the bass starts driving, it gets a little distracting. 1225 00:53:06,166 --> 00:53:07,150 Any final comments? 1226 00:53:07,150 --> 00:53:09,610 Who's doing the Google Docs for Joshua? 1227 00:53:12,562 --> 00:53:15,514 AUDIENCE: David and Nathan. 1228 00:53:15,514 --> 00:53:18,220 Also, just as a comment, I think you 1229 00:53:18,220 --> 00:53:20,434 did a really, really excellent job 1230 00:53:20,434 --> 00:53:22,402 with the pacing of your cuts. 1231 00:53:22,402 --> 00:53:24,616 We never explicitly stated it, but I 1232 00:53:24,616 --> 00:53:28,967 think Elizabeth and I said it in the computer lab last week. 1233 00:53:28,967 --> 00:53:31,258 You did a really good job leaving a little bit of space 1234 00:53:31,258 --> 00:53:33,770 at the end of something that you said for people to absorb. 1235 00:53:33,770 --> 00:53:35,810 But then when you starting your new scene, 1236 00:53:35,810 --> 00:53:37,490 you cut it right before you dialog. 1237 00:53:37,490 --> 00:53:40,801 And so the video itself just felt really, really well-paced 1238 00:53:40,801 --> 00:53:41,747 because of that. 1239 00:53:41,747 --> 00:53:43,810 There was never any point of it where 1240 00:53:43,810 --> 00:53:45,660 I was waiting for something to happen. 1241 00:53:45,660 --> 00:53:47,569 It was all just like-- 1242 00:53:47,569 --> 00:53:49,110 AUDIENCE: If I were to add, they have 1243 00:53:49,110 --> 00:53:52,350 that actually I didn't feel-- I cut once, 1244 00:53:52,350 --> 00:53:53,620 and I felt it was awkward. 1245 00:53:53,620 --> 00:53:57,820 And then I cut again, until it reached so near to the audio. 1246 00:53:57,820 --> 00:54:03,330 So it was a few times I had to cut to realize that it awkward. 1247 00:54:03,330 --> 00:54:08,199 Like even for 0.3 seconds, it would be awkward. 1248 00:54:08,199 --> 00:54:11,160 AUDIENCE: You have really good instincts to do that. 1249 00:54:11,160 --> 00:54:13,670 ELIZABETH CHOE: And I know that I have said this ad 1250 00:54:13,670 --> 00:54:16,470 nauseum in the emails, but I feel like there's 1251 00:54:16,470 --> 00:54:18,850 this sense of fear. 1252 00:54:18,850 --> 00:54:20,690 And maybe it's just the training that we 1253 00:54:20,690 --> 00:54:22,960 have in our traditional educational system, 1254 00:54:22,960 --> 00:54:25,530 but we all want to measure like 20 times 1255 00:54:25,530 --> 00:54:27,740 because heaven forbid we cut more than once, right? 1256 00:54:27,740 --> 00:54:29,520 And here you're literally cutting. 1257 00:54:29,520 --> 00:54:33,170 But it's through the process of cutting and trying 1258 00:54:33,170 --> 00:54:36,970 different things that you learn what feels right 1259 00:54:36,970 --> 00:54:38,400 and what makes sense in the video. 1260 00:54:38,400 --> 00:54:41,770 And I don't know of anyone who has ever made 1261 00:54:41,770 --> 00:54:44,110 a video on their first try. 1262 00:54:44,110 --> 00:54:47,370 Even if they've perfected the shot list, gotten the best 1263 00:54:47,370 --> 00:54:51,960 script ever, have their production date down 1264 00:54:51,960 --> 00:54:56,100 to the second, something will ultimately 1265 00:54:56,100 --> 00:54:58,729 end up happening that makes you reconsider 1266 00:54:58,729 --> 00:55:00,020 how you're going to cut things. 1267 00:55:00,020 --> 00:55:00,580 And it should. 1268 00:55:00,580 --> 00:55:01,288 It really should. 1269 00:55:01,288 --> 00:55:03,930 I mean, I am really happy to hear that that's 1270 00:55:03,930 --> 00:55:08,230 what you discovered, because I think that that goes maybe 1271 00:55:08,230 --> 00:55:10,450 a little against how we traditionally 1272 00:55:10,450 --> 00:55:13,140 go through school. 1273 00:55:13,140 --> 00:55:16,370 So I'm glad to hear that you try different things. 1274 00:55:16,370 --> 00:55:18,950 It's OK, do not be discouraged by having 1275 00:55:18,950 --> 00:55:20,080 to try different cuts. 1276 00:55:20,080 --> 00:55:25,280 It's a productive process that moves you forward. 1277 00:55:25,280 --> 00:55:29,420 OK, any thoughts from PJ before we screen? 1278 00:55:29,420 --> 00:55:33,025 AUDIENCE: So there's parts of the audio that I'm 1279 00:55:33,025 --> 00:55:34,830 moving so I can get the-- 1280 00:55:34,830 --> 00:55:35,480 ELIZABETH CHOE: Oh, you hear a little bit. 1281 00:55:35,480 --> 00:55:35,550 Yeah. 1282 00:55:35,550 --> 00:55:37,394 AUDIENCE: So yeah, after we do that. 1283 00:55:37,394 --> 00:55:39,699 And then it was really hard trying 1284 00:55:39,699 --> 00:55:44,136 to keep it-- there's no-- after watching it, 1285 00:55:44,136 --> 00:55:46,630 it's like two videos. 1286 00:55:46,630 --> 00:55:48,559 It's hard because it's in one setting, 1287 00:55:48,559 --> 00:55:50,874 and they complete their form. 1288 00:55:50,874 --> 00:55:53,540 And I couldn't find like-- 1289 00:55:53,540 --> 00:55:54,790 ELIZABETH CHOE: Music is hard. 1290 00:55:54,790 --> 00:55:57,434 It's so much harder than you initially think it will be. 1291 00:55:57,434 --> 00:56:00,100 You think, oh you just like slap something on in the background, 1292 00:56:00,100 --> 00:56:00,750 it'll be fine. 1293 00:56:00,750 --> 00:56:02,920 But it's very time consuming. 1294 00:56:02,920 --> 00:56:05,100 So it's very like-- I don't know. 1295 00:56:05,100 --> 00:56:08,282 It seemed very inspirational at the beginning. 1296 00:56:08,282 --> 00:56:10,406 ELIZABETH CHOE: Like inappropriately inspirational. 1297 00:56:10,406 --> 00:56:13,072 AUDIENCE: Friday Night Lights kind of thing. 1298 00:56:13,072 --> 00:56:14,155 ELIZABETH CHOE: All right. 1299 00:56:14,155 --> 00:56:15,360 Well, let's see. 1300 00:56:15,360 --> 00:56:16,026 [VIDEO PLAYBACK] 1301 00:56:16,026 --> 00:56:20,000 -When we take complex things and break them into smaller pieces, 1302 00:56:20,000 --> 00:56:22,280 we find out that we know a lot more about things 1303 00:56:22,280 --> 00:56:23,274 than we think. 1304 00:56:35,220 --> 00:56:37,302 Now let's take this box-- ORCA I-- 1305 00:56:37,302 --> 00:56:39,290 and create damage below the water line, which 1306 00:56:39,290 --> 00:56:40,373 I've indicated right here. 1307 00:56:54,500 --> 00:56:57,845 As we can see, we've damaged ORCA I right here. 1308 00:56:57,845 --> 00:57:00,136 Now let's put ORCA I on the water and see what happens. 1309 00:57:19,976 --> 00:57:23,944 [GURGLING] 1310 00:57:26,430 --> 00:57:29,740 The ORCA I sank due to the weight of the added water. 1311 00:57:29,740 --> 00:57:35,160 What if the ORCA I contained cargo, or oil, or even people? 1312 00:57:35,160 --> 00:57:38,939 Now let's take ORCA II and do the same thing. 1313 00:57:56,930 --> 00:57:58,950 So we can see that ORCA II did not sink, 1314 00:57:58,950 --> 00:58:01,790 although it is sitting on an angle towards the bow. 1315 00:58:01,790 --> 00:58:04,470 So why didn't ORCA II sink? 1316 00:58:04,470 --> 00:58:06,750 As easy as it sounds, this simple demonstration 1317 00:58:06,750 --> 00:58:10,900 is essential to the design of huge complex ships-- ships 1318 00:58:10,900 --> 00:58:13,430 that are responsible for carrying about 90% 1319 00:58:13,430 --> 00:58:14,420 of all our stuff. 1320 00:58:14,420 --> 00:58:16,810 As naval architects, how do we design 1321 00:58:16,810 --> 00:58:19,820 ships carrying our stuff to make it into port safely and not 1322 00:58:19,820 --> 00:58:20,636 sink? 1323 00:58:20,636 --> 00:58:22,124 Well, why don't we find out? 1324 00:58:34,030 --> 00:58:37,050 Here we have ORCA I and ORCA II from before. 1325 00:58:37,050 --> 00:58:39,740 Although ORCA I and ORCA II don't engage in international 1326 00:58:39,740 --> 00:58:42,560 trade, they behave just as a 1,000-foot container ship 1327 00:58:42,560 --> 00:58:43,990 would. 1328 00:58:43,990 --> 00:58:46,689 Now, let's take a look in ORCA I. We can 1329 00:58:46,689 --> 00:58:47,980 see that there's nothing in it. 1330 00:58:47,980 --> 00:58:50,500 It's just a box. 1331 00:58:50,500 --> 00:58:53,910 But if we look at ORCA II, we can 1332 00:58:53,910 --> 00:58:56,970 see that it's subdivided into these watertight compartments 1333 00:58:56,970 --> 00:58:59,790 by these transverse watertight bulkheads. 1334 00:58:59,790 --> 00:59:01,790 Now, what that means is that if we 1335 00:59:01,790 --> 00:59:03,950 were to damage this ship right here, 1336 00:59:03,950 --> 00:59:06,260 water would only flow into this compartment. 1337 00:59:06,260 --> 00:59:09,390 It would not go into this one, this one, or this one. 1338 00:59:09,390 --> 00:59:12,510 That would cause the ship to be angled or trimmed in the water, 1339 00:59:12,510 --> 00:59:15,890 but it would not cause the ship to sink completely. 1340 00:59:15,890 --> 00:59:18,490 We refer to ORCA II as being subdivided, 1341 00:59:18,490 --> 00:59:21,726 and we can see subdivision in many of these ship's plans. 1342 00:59:21,726 --> 00:59:23,780 It is unclear when subdivision first 1343 00:59:23,780 --> 00:59:26,970 started being used in ships, but accounts of 5th century 1344 00:59:26,970 --> 00:59:29,500 Chinese trade ships indicate that water 1345 00:59:29,500 --> 00:59:31,920 would be able to enter the vessel without sinking. 1346 00:59:31,920 --> 00:59:34,740 So let's find out why this happens. 1347 00:59:34,740 --> 00:59:38,670 Let's imagine a barge divided into 10 equal compartments. 1348 00:59:38,670 --> 00:59:41,360 One of them springs a leak from damage. 1349 00:59:41,360 --> 00:59:44,180 Since the ship is subdivided, only the first compartment 1350 00:59:44,180 --> 00:59:46,250 floods, and the ship remains afloat, 1351 00:59:46,250 --> 00:59:48,710 protecting both its people and cargo. 1352 00:59:48,710 --> 00:59:51,020 Although the added water causes a ship to trim, 1353 00:59:51,020 --> 00:59:53,760 it still has enough buoyancy to return to port for repairs. 1354 00:59:58,080 --> 00:59:59,680 Ships still sink, though. 1355 00:59:59,680 --> 01:00:01,460 It's both expensive and impractical 1356 01:00:01,460 --> 01:00:03,377 to try to design the unsinkable ship, 1357 01:00:03,377 --> 01:00:04,960 especially when these ships will never 1358 01:00:04,960 --> 01:00:06,900 see that amount of damage. 1359 01:00:06,900 --> 01:00:08,570 That's why, as naval architects, we 1360 01:00:08,570 --> 01:00:13,160 use computer programs to help us out with subdivision. 1361 01:00:13,160 --> 01:00:15,650 Computers make it easy to simulate certain damage 1362 01:00:15,650 --> 01:00:18,470 cases in practically no time. 1363 01:00:18,470 --> 01:00:21,770 With different software, we can damage certain compartments, 1364 01:00:21,770 --> 01:00:24,190 and see how the ship responds to it. 1365 01:00:24,190 --> 01:00:26,390 This gives the naval architect a good idea 1366 01:00:26,390 --> 01:00:30,110 of what parts to improve on the ship, if any. 1367 01:00:30,110 --> 01:00:33,710 So even though ships seem like these intricate, complex 1368 01:00:33,710 --> 01:00:36,350 things, they're really just based on principles 1369 01:00:36,350 --> 01:00:37,511 that we all already know. 1370 01:00:56,000 --> 01:00:59,360 [APPLAUSE] 1371 01:00:59,360 --> 01:01:00,330 [END PLAYBACK] 1372 01:01:00,330 --> 01:01:01,913 ELIZABETH CHOE: Just out of curiosity, 1373 01:01:01,913 --> 01:01:03,502 did you shoot this video in sequence? 1374 01:01:03,502 --> 01:01:05,460 Like, you shot the first scenes first, second-- 1375 01:01:05,460 --> 01:01:07,720 AUDIENCE: So the first scenes were second. 1376 01:01:07,720 --> 01:01:08,929 The second scenes were first. 1377 01:01:08,929 --> 01:01:09,886 ELIZABETH CHOE: Really? 1378 01:01:09,886 --> 01:01:10,522 AUDIENCE: Yeah. 1379 01:01:10,522 --> 01:01:12,860 That wasn't out of design, it was 1380 01:01:12,860 --> 01:01:16,330 just because the the only time we could go there was day. 1381 01:01:16,330 --> 01:01:20,130 ELIZABETH CHOE: Yeah, it's a location practicality there. 1382 01:01:20,130 --> 01:01:22,387 Any comments for PJ? 1383 01:01:22,387 --> 01:01:24,220 AUDIENCE: I didn't feel the change of music, 1384 01:01:24,220 --> 01:01:25,895 as in, it was natural. 1385 01:01:25,895 --> 01:01:28,089 I didn't feel like there was a sudden change. 1386 01:01:28,089 --> 01:01:28,630 AUDIENCE: OK. 1387 01:01:28,630 --> 01:01:30,296 ELIZABETH CHOE: I liked the second song. 1388 01:01:30,296 --> 01:01:33,192 I agree that the first one is a little Friday Night Lights. 1389 01:01:33,192 --> 01:01:40,920 [LAUGHTER] 1390 01:01:40,920 --> 01:01:43,460 ELIZABETH CHOE: The thing with-- just like comedy, 1391 01:01:43,460 --> 01:01:47,150 pulling off drama is also really hard to do in YouTube videos, 1392 01:01:47,150 --> 01:01:50,732 because you're not working with, like, a sweeping epic 1393 01:01:50,732 --> 01:01:51,440 or a documentary. 1394 01:01:51,440 --> 01:01:53,520 It's like a little YouTube blurb, 1395 01:01:53,520 --> 01:01:55,420 and we had trouble with that with Farts 1396 01:01:55,420 --> 01:02:01,290 when he talks about how Clostridium difficile kills 1397 01:02:01,290 --> 01:02:04,680 some thousand Americans a year. 1398 01:02:04,680 --> 01:02:08,220 We didn't want to have grandpa's banjo playing in the background 1399 01:02:08,220 --> 01:02:11,510 when he says that, obviously. 1400 01:02:11,510 --> 01:02:16,380 But it's not like we were going to insert music 1401 01:02:16,380 --> 01:02:20,710 from Gone with the Wind in the background either. 1402 01:02:20,710 --> 01:02:24,225 AUDIENCE: Well, one thing that I wanted to try music 1403 01:02:24,225 --> 01:02:28,085 because a lot of the places I was in, there was-- you 1404 01:02:28,085 --> 01:02:30,956 can see there's a lot of cuts, so where it goes to, 1405 01:02:30,956 --> 01:02:33,788 and if there's not anything underneath, 1406 01:02:33,788 --> 01:02:35,680 it's very pronounced. 1407 01:02:35,680 --> 01:02:38,526 And I tried editing a lot of it out. 1408 01:02:43,067 --> 01:02:44,150 ELIZABETH CHOE: Let's see. 1409 01:02:44,150 --> 01:02:46,005 So I know that you were hesitant about being 1410 01:02:46,005 --> 01:02:47,150 in front of the camera too. 1411 01:02:47,150 --> 01:02:48,176 AUDIENCE: So natural. 1412 01:02:48,176 --> 01:02:49,550 ELIZABETH CHOE: And I'm surprised 1413 01:02:49,550 --> 01:02:50,910 that you said you filmed them in the rivers, 1414 01:02:50,910 --> 01:02:52,870 because I feel like the stuff that you have in the end 1415 01:02:52,870 --> 01:02:55,220 is really, really natural, and I thought that you would 1416 01:02:55,220 --> 01:02:57,380 have maybe done that second. 1417 01:02:57,380 --> 01:03:01,250 It's hard to host while you're doing a demo. 1418 01:03:01,250 --> 01:03:03,360 You just have a million things to think about. 1419 01:03:03,360 --> 01:03:06,380 But in general, the hosting is really nice. 1420 01:03:06,380 --> 01:03:11,560 It's really, really natural, especially this part. 1421 01:03:11,560 --> 01:03:15,370 I can tell that Yuliya and-- who was it-- 1422 01:03:15,370 --> 01:03:16,560 David was filming with you? 1423 01:03:16,560 --> 01:03:17,310 AUDIENCE: Kenneth. 1424 01:03:17,310 --> 01:03:19,270 ELIZABETH CHOE: Kenneth was filming with you. 1425 01:03:19,270 --> 01:03:20,720 They probably tried to make you laugh in some of them 1426 01:03:20,720 --> 01:03:20,874 and smile. 1427 01:03:20,874 --> 01:03:23,040 AUDIENCE: Yeah, they were really good at doing that. 1428 01:03:23,040 --> 01:03:24,660 ELIZABETH CHOE: Yeah. 1429 01:03:24,660 --> 01:03:27,701 I think this scene is your strongest hosting. 1430 01:03:27,701 --> 01:03:29,950 Just, like, going back and forth between the computer, 1431 01:03:29,950 --> 01:03:32,630 this scene just plays out very nicely. 1432 01:03:32,630 --> 01:03:35,290 And again, taking a seemingly intimidating subject, 1433 01:03:35,290 --> 01:03:38,310 and welcoming and inviting the viewers in. 1434 01:03:38,310 --> 01:03:40,230 It's very nice. 1435 01:03:40,230 --> 01:03:42,560 I would say, in general, the cutting advice 1436 01:03:42,560 --> 01:03:44,880 that [INAUDIBLE] gave, which is to leave 1437 01:03:44,880 --> 01:03:48,560 the room at the end of cuts-- or at the end of scenes-- 1438 01:03:48,560 --> 01:03:50,590 and cut very close to when you start 1439 01:03:50,590 --> 01:03:55,133 talking at the beginning of scenes, might help with this. 1440 01:03:55,133 --> 01:03:55,758 There was one-- 1441 01:03:58,926 --> 01:04:01,550 AUDIENCE: Is it the moment where Yuliya's in the picture with-- 1442 01:04:01,550 --> 01:04:01,890 ELIZABETH CHOE: Oh, yeah. 1443 01:04:01,890 --> 01:04:03,578 That's, like, a weird insert thing. 1444 01:04:03,578 --> 01:04:04,994 AUDIENCE: I was, like, who is she? 1445 01:04:04,994 --> 01:04:07,424 What is she doing here? 1446 01:04:07,424 --> 01:04:09,860 She needs to get cut out. 1447 01:04:09,860 --> 01:04:12,780 ELIZABETH CHOE: In general, I love the speed up walk, 1448 01:04:12,780 --> 01:04:14,762 and how you open the door into the lab. 1449 01:04:14,762 --> 01:04:15,970 I love seeing the background. 1450 01:04:15,970 --> 01:04:17,210 It's very cool. 1451 01:04:17,210 --> 01:04:19,855 I think you can speed up you damaging ORCA I. 1452 01:04:19,855 --> 01:04:20,397 AUDIENCE: OK. 1453 01:04:20,397 --> 01:04:22,605 ELIZABETH CHOE: And I think, you say something like-- 1454 01:04:22,605 --> 01:04:25,030 AUDIENCE: Let's take this box-- ORCA I-- and create damage 1455 01:04:25,030 --> 01:04:27,520 below the water line, which I've indicated right here. 1456 01:04:27,520 --> 01:04:27,780 ELIZABETH CHOE: Yeah. 1457 01:04:27,780 --> 01:04:30,230 I think you can actually cut that part out completely, 1458 01:04:30,230 --> 01:04:32,892 because after you cut it, you say, as you can see, 1459 01:04:32,892 --> 01:04:35,350 we've damaged ORCA I, so I think that's enough information. 1460 01:04:37,929 --> 01:04:39,970 And I get what you're saying with the water line, 1461 01:04:39,970 --> 01:04:43,130 but I don't think it's super relevant to the point 1462 01:04:43,130 --> 01:04:46,080 of the video, so I think it's OK if you cut that out entirely. 1463 01:04:46,080 --> 01:04:47,935 Oh, yeah, when you go from this scene-- 1464 01:04:47,935 --> 01:04:50,025 AUDIENCE: --in the weight of the added water. 1465 01:04:50,025 --> 01:04:54,075 What if the ORCA I contained cargo, or oil, or even people? 1466 01:04:54,075 --> 01:04:54,950 ELIZABETH CHOE: Yeah. 1467 01:04:54,950 --> 01:04:58,910 The music here is, like, it's like trying 1468 01:04:58,910 --> 01:05:02,400 to pull out my heartstrings. 1469 01:05:02,400 --> 01:05:06,034 AUDIENCE: Now let's take ORCA II and do the same thing. 1470 01:05:10,390 --> 01:05:14,500 We can see that ORCA II did not sink-- ORCA II sink. 1471 01:05:14,500 --> 01:05:16,750 As easy as it sounds, this simple demonstration 1472 01:05:16,750 --> 01:05:20,860 is essential to the design of huge complex ships. 1473 01:05:20,860 --> 01:05:22,755 So why didn't ORCA II sink? 1474 01:05:22,755 --> 01:05:24,380 ELIZABETH CHOE: So this is an example-- 1475 01:05:24,380 --> 01:05:28,435 it happened one other time where you leave a gap in between some 1476 01:05:28,435 --> 01:05:31,070 of your sentences, and the gap is a little long. 1477 01:05:31,070 --> 01:05:38,720 So you can cut to a digital zoom of the same shot 1478 01:05:38,720 --> 01:05:41,220 to clean up the gap a little bit. 1479 01:05:41,220 --> 01:05:43,640 Because I think that you were doing it to help you host, 1480 01:05:43,640 --> 01:05:45,640 and, like, help you get through the lines, which 1481 01:05:45,640 --> 01:05:48,020 is totally OK and understandable, 1482 01:05:48,020 --> 01:05:50,340 but I would just hide that gap a little. 1483 01:05:50,340 --> 01:05:53,975 AUDIENCE: I stuttered here, and I kept looking back 1484 01:05:53,975 --> 01:05:55,987 to the boat, so it was weird, like I 1485 01:05:55,987 --> 01:05:57,445 was using that almost as my crutch, 1486 01:05:57,445 --> 01:05:59,890 that I had this prop that I could kind of like square up. 1487 01:05:59,890 --> 01:06:01,130 ELIZABETH CHOE: I think you actually were-- 1488 01:06:01,130 --> 01:06:02,670 your delivery was fine here. 1489 01:06:02,670 --> 01:06:03,760 I wasn't distracted by it. 1490 01:06:03,760 --> 01:06:05,884 AUDIENCE: --II did not sink, although it is sitting 1491 01:06:05,884 --> 01:06:07,620 an angle towards the bow. 1492 01:06:07,620 --> 01:06:08,914 So why didn't ORCA II sink? 1493 01:06:08,914 --> 01:06:11,080 ELIZABETH CHOE: I like the way you ask the question. 1494 01:06:11,080 --> 01:06:13,127 That's, like, how you would normally. 1495 01:06:13,127 --> 01:06:14,460 AUDIENCE: As easy as it sounds-- 1496 01:06:14,460 --> 01:06:16,110 ELIZABETH CHOE: And see how that gap feels just a little bit 1497 01:06:16,110 --> 01:06:16,610 too long. 1498 01:06:16,610 --> 01:06:18,790 AUDIENCE: --this simple demonstration is essential 1499 01:06:18,790 --> 01:06:21,550 to the design of huge complex ships-- 1500 01:06:21,550 --> 01:06:24,545 ships that are responsible for carrying about 90%-- 1501 01:06:24,545 --> 01:06:26,700 ELIZABETH CHOE: Do you have B-roll or pictures 1502 01:06:26,700 --> 01:06:27,800 of some of these ships? 1503 01:06:27,800 --> 01:06:29,110 That was the one thing I was thinking 1504 01:06:29,110 --> 01:06:30,526 throughout this video was, like, I 1505 01:06:30,526 --> 01:06:33,070 would love to see what the things look like in real life. 1506 01:06:33,070 --> 01:06:35,170 AUDIENCE: I could probably do something like that. 1507 01:06:35,170 --> 01:06:36,340 ELIZABETH CHOE: I think this would be a great place 1508 01:06:36,340 --> 01:06:38,160 to cut to B-roll or pictures. 1509 01:06:38,160 --> 01:06:40,510 You can just keep the audio, but that would help mix 1510 01:06:40,510 --> 01:06:42,610 up the visuals a lot too. 1511 01:06:42,610 --> 01:06:44,319 AUDIENCE: --of all our stuff is-- 1512 01:06:44,319 --> 01:06:45,110 ELIZABETH CHOE: OK. 1513 01:06:45,110 --> 01:06:47,160 So this cut was a little-- this was 1514 01:06:47,160 --> 01:06:52,310 what I was talking about with the line of sight 1515 01:06:52,310 --> 01:06:54,190 when I gave the editing lecture. 1516 01:06:54,190 --> 01:06:59,476 In the one scene, you're kind of sitting like this, right? 1517 01:06:59,476 --> 01:07:03,576 And you have, like-- this is a terrible drawing. 1518 01:07:03,576 --> 01:07:06,460 But you have your boat in the water, and it's sort of, like, 1519 01:07:06,460 --> 01:07:07,600 a weird semi-bird's-eye. 1520 01:07:07,600 --> 01:07:11,110 And then you cut, and you're not quite 1521 01:07:11,110 --> 01:07:13,132 in a different enough position, so it feels 1522 01:07:13,132 --> 01:07:14,340 just, like, slightly jarring. 1523 01:07:14,340 --> 01:07:16,210 It feels like someone just tipped the camera 1524 01:07:16,210 --> 01:07:17,410 over a little bit. 1525 01:07:17,410 --> 01:07:22,220 So either cut to a closer shot of you 1526 01:07:22,220 --> 01:07:28,500 like that, to hide that a little bit, or do B-roll there. 1527 01:07:28,500 --> 01:07:30,685 If you're coming out of B-roll here, 1528 01:07:30,685 --> 01:07:32,310 then this transition won't be as weird, 1529 01:07:32,310 --> 01:07:36,420 and my comment is totally irrelevant, but just 1530 01:07:36,420 --> 01:07:39,471 something to think about. 1531 01:07:39,471 --> 01:07:41,544 AUDIENCE: I mean, so-- sorry, I'm, 1532 01:07:41,544 --> 01:07:47,050 like, 10 steps ahead of my head, where I am in actual reality. 1533 01:07:47,050 --> 01:07:49,960 You never put your Coast Guard outfit on. 1534 01:07:49,960 --> 01:07:50,930 AUDIENCE: Yeah. 1535 01:07:50,930 --> 01:07:53,597 I felt like if I wanted to try to make 1536 01:07:53,597 --> 01:07:58,390 it seem like less, like, me talking, 1537 01:07:58,390 --> 01:08:01,283 that would have just put on a whole different persona. 1538 01:08:01,283 --> 01:08:03,074 So I kind of, like, I'm wearing boat shoes, 1539 01:08:03,074 --> 01:08:05,785 so that's hard to do. 1540 01:08:05,785 --> 01:08:06,326 AUDIENCE: OK. 1541 01:08:06,326 --> 01:08:10,260 I just wonder if at the very, very last scene, where 1542 01:08:10,260 --> 01:08:14,048 you have your finale comment about a very simple concept 1543 01:08:14,048 --> 01:08:17,229 as floating, if ever there were a moment 1544 01:08:17,229 --> 01:08:21,100 to put that hat on, and have your awesome Coast Guard 1545 01:08:21,100 --> 01:08:23,677 outfit on, that would be it. 1546 01:08:23,677 --> 01:08:25,760 ELIZABETH CHOE: If you don't want to shoot it now, 1547 01:08:25,760 --> 01:08:27,593 we're going to make you do it next week when 1548 01:08:27,593 --> 01:08:28,785 we shoot season 3, OK? 1549 01:08:28,785 --> 01:08:29,410 AUDIENCE: Yeah. 1550 01:08:29,410 --> 01:08:30,660 Got to go to the dry cleaners. 1551 01:08:32,207 --> 01:08:34,040 ELIZABETH CHOE: Yeah, that's a good comment. 1552 01:08:34,040 --> 01:08:35,415 AUDIENCE: The thing that you have 1553 01:08:35,415 --> 01:08:37,575 that's so cool is, I mean, we talked about the fact 1554 01:08:37,575 --> 01:08:40,729 that you actually, legitimately, are out there 1555 01:08:40,729 --> 01:08:41,895 in the Coast Guard. 1556 01:08:41,895 --> 01:08:45,364 And you say that, but showing us that in your film 1557 01:08:45,364 --> 01:08:46,600 is really powerful. 1558 01:08:46,600 --> 01:08:48,680 And even if, at just the very end, 1559 01:08:48,680 --> 01:08:51,693 you tie that real life application back, 1560 01:08:51,693 --> 01:08:53,609 I think that would be really, incredibly cool. 1561 01:08:53,609 --> 01:08:55,567 ELIZABETH CHOE: Just for the last sentence too. 1562 01:08:55,567 --> 01:08:57,270 And again, like, time permitting, right? 1563 01:08:57,270 --> 01:08:59,660 Because I know that you guys don't have a ton of time 1564 01:08:59,660 --> 01:09:03,800 to incorporate all this stuff. 1565 01:09:03,800 --> 01:09:05,555 You've already gotten plenty of footage 1566 01:09:05,555 --> 01:09:07,479 of you talking in this setting, so it 1567 01:09:07,479 --> 01:09:09,189 wouldn't be very jarring to have you 1568 01:09:09,189 --> 01:09:14,061 say the last sentence, like, out by the sea, or by the boats. 1569 01:09:14,061 --> 01:09:15,727 AUDIENCE: Or even if when you say, like, 1570 01:09:15,727 --> 01:09:19,136 I'm a Coast Guard, whatever, even if you quickly 1571 01:09:19,136 --> 01:09:23,020 have a picture of even photos of you in uniform, to just put-- I 1572 01:09:23,020 --> 01:09:23,520 don't know. 1573 01:09:23,520 --> 01:09:25,020 I don't know how that would look. 1574 01:09:25,020 --> 01:09:27,662 But just something that shows us, and doesn't tell us 1575 01:09:27,662 --> 01:09:31,466 this totally authentic side to yourself would be cool. 1576 01:09:31,466 --> 01:09:35,714 AUDIENCE: So do you have access to the base here? 1577 01:09:35,714 --> 01:09:37,130 AUDIENCE: To the one in North End? 1578 01:09:37,130 --> 01:09:37,755 AUDIENCE: Yeah. 1579 01:09:37,755 --> 01:09:39,557 AUDIENCE: Yeah. 1580 01:09:39,557 --> 01:09:40,807 AUDIENCE: Because one of our-- 1581 01:09:40,807 --> 01:09:42,667 AUDIENCE: They have shirts there. 1582 01:09:42,667 --> 01:09:43,292 AUDIENCE: Yeah. 1583 01:09:43,292 --> 01:09:46,771 I mean, one of the Sloan fellows is also an officer. 1584 01:09:46,771 --> 01:09:47,762 AUDIENCE: OK. 1585 01:09:47,762 --> 01:09:48,262 [INAUDIBLE]? 1586 01:09:48,262 --> 01:09:50,703 AUDIENCE: [INAUDIBLE]. 1587 01:09:50,703 --> 01:09:51,244 AUDIENCE: No. 1588 01:09:51,244 --> 01:09:54,569 He's based in there. 1589 01:09:54,569 --> 01:09:56,110 ELIZABETH CHOE: So again, I know it's 1590 01:09:56,110 --> 01:09:58,770 short notice-- you'd have to do it between today and tomorrow, 1591 01:09:58,770 --> 01:10:00,650 basically, so it's OK if you can't do it, 1592 01:10:00,650 --> 01:10:05,120 but something to think about, if you want 1593 01:10:05,120 --> 01:10:07,100 to do it for Science Out Loud. 1594 01:10:07,100 --> 01:10:08,450 All right. 1595 01:10:08,450 --> 01:10:10,115 Yuliya, you ready? 1596 01:10:10,115 --> 01:10:10,740 AUDIENCE: Yeah. 1597 01:10:10,740 --> 01:10:13,559 So there are-- the beginning and the end, we filmed outside. 1598 01:10:13,559 --> 01:10:15,850 There's a lot of wind, and I couldn't connect the mike, 1599 01:10:15,850 --> 01:10:17,430 because I was standing far away. 1600 01:10:17,430 --> 01:10:19,020 So I tried to do voiceover. 1601 01:10:19,020 --> 01:10:21,335 I don't know how it sounds, because honestly, I 1602 01:10:21,335 --> 01:10:24,400 was just tired of hearing my voice at that point. 1603 01:10:24,400 --> 01:10:27,310 And then, there is this, actually, like the thumbnail, 1604 01:10:27,310 --> 01:10:29,600 this is where the animation is supposed to be. 1605 01:10:29,600 --> 01:10:33,583 So the white screen is animations. 1606 01:10:33,583 --> 01:10:34,581 ELIZABETH CHOE: Yeah? 1607 01:10:34,581 --> 01:10:36,577 AUDIENCE: David and Kenneth are the ones 1608 01:10:36,577 --> 01:10:40,070 who are Google Doc commenting on this. 1609 01:10:40,070 --> 01:10:41,567 ELIZABETH CHOE: Thank you. 1610 01:10:41,567 --> 01:10:43,608 And we'll go through it again if you guys forget. 1611 01:10:46,058 --> 01:10:47,056 [VIDEO PLAYBACK] 1612 01:10:47,056 --> 01:10:50,549 [MUSIC PLAYING] 1613 01:10:53,543 --> 01:10:54,560 -Hi. 1614 01:10:54,560 --> 01:10:58,400 What do snowflakes and cellphones have in common? 1615 01:10:58,400 --> 01:11:01,590 Well, let me start by drawing a snowflake first. 1616 01:11:01,590 --> 01:11:05,220 I draw an equilateral triangle, divide each side 1617 01:11:05,220 --> 01:11:09,730 into three parts, and draw another equilateral triangle 1618 01:11:09,730 --> 01:11:11,600 on top of each one. 1619 01:11:11,600 --> 01:11:13,900 Then take out the middle, and repeat 1620 01:11:13,900 --> 01:11:17,520 the process, this time with 1, 2, 3, 4 times 1621 01:11:17,520 --> 01:11:19,650 3, which is 12 sides. 1622 01:11:19,650 --> 01:11:22,970 Eventually, the shape will start looking something like this. 1623 01:11:22,970 --> 01:11:26,010 In mathematics, this is called a Koch snowflake. 1624 01:11:26,010 --> 01:11:28,820 If I repeated my process again and again, 1625 01:11:28,820 --> 01:11:32,570 I would see this same pattern anywhere I looked. 1626 01:11:32,570 --> 01:11:36,180 This is a Koch snowflake, this time drawn on a computer. 1627 01:11:36,180 --> 01:11:38,720 Such neverending patterns, that on any scale, 1628 01:11:38,720 --> 01:11:40,800 on any level of zoom, look roughly the same, 1629 01:11:40,800 --> 01:11:42,780 are called fractals. 1630 01:11:42,780 --> 01:11:45,660 Computer scientists can program these patterns 1631 01:11:45,660 --> 01:11:48,300 by repeating an often simple mathematical process 1632 01:11:48,300 --> 01:11:49,810 over and over. 1633 01:11:49,810 --> 01:11:54,300 In the 1990s, a radio astronomer by the name of Nathan Cohen 1634 01:11:54,300 --> 01:11:58,480 used fractals to revolutionize wireless communications. 1635 01:11:58,480 --> 01:12:01,810 At the time, Cohen was having troubles with his landlord. 1636 01:12:01,810 --> 01:12:04,230 The man wouldn't let him put an antenna on his roof. 1637 01:12:04,230 --> 01:12:09,810 So Cohen designed a more compact fractal radio antenna instead. 1638 01:12:09,810 --> 01:12:12,770 The landlord didn't notice it, and it worked better 1639 01:12:12,770 --> 01:12:14,470 than the ones before. 1640 01:12:14,470 --> 01:12:18,010 Working further, Cohen designed a new antenna, 1641 01:12:18,010 --> 01:12:22,016 this time using a fractal called the Menger sponge. 1642 01:12:22,016 --> 01:12:24,234 The Menger sponge is not really the sponge 1643 01:12:24,234 --> 01:12:25,650 you'd be scrubbing your back with, 1644 01:12:25,650 --> 01:12:27,875 but you can still think of it like that. 1645 01:12:27,875 --> 01:12:30,850 Imagine both water and soap getting through your sponge's 1646 01:12:30,850 --> 01:12:34,660 holes, except the water is Wi-Fi, and the soap is, 1647 01:12:34,660 --> 01:12:36,400 say, Bluetooth. 1648 01:12:36,400 --> 01:12:38,150 The fractal's infinite sponginess 1649 01:12:38,150 --> 01:12:40,690 allows it to receive many different frequencies 1650 01:12:40,690 --> 01:12:41,640 simultaneously. 1651 01:12:41,640 --> 01:12:44,150 Before Cohen's invention, antennas 1652 01:12:44,150 --> 01:12:47,400 had to be cut for one frequency, and that was the only frequency 1653 01:12:47,400 --> 01:12:48,590 they could operate at. 1654 01:12:48,590 --> 01:12:51,032 Without Cohen's sponge, your cell phone 1655 01:12:51,032 --> 01:12:52,990 would have to look something like a [INAUDIBLE] 1656 01:12:52,990 --> 01:12:55,480 to receive multiple signals, including 1657 01:12:55,480 --> 01:12:58,260 the one your friends use when they call. 1658 01:12:58,260 --> 01:13:00,740 Cohen later proved that only fractal shapes 1659 01:13:00,740 --> 01:13:03,090 could work with such a wide range of frequencies. 1660 01:13:03,090 --> 01:13:05,650 Today, millions of wireless devices, 1661 01:13:05,650 --> 01:13:07,990 such as laptops and bar code scanners, 1662 01:13:07,990 --> 01:13:10,680 use Cohen's fractal antenna. 1663 01:13:10,680 --> 01:13:12,730 Cohen's genius invention, however, 1664 01:13:12,730 --> 01:13:15,520 was not the first application of fractals in the world. 1665 01:13:15,520 --> 01:13:17,530 Nature has been doing it the whole time, 1666 01:13:17,530 --> 01:13:19,100 and not just the snowflakes. 1667 01:13:19,100 --> 01:13:21,890 Natural selection favors the most efficient systems 1668 01:13:21,890 --> 01:13:24,480 and organisms, often of a fractal form. 1669 01:13:24,480 --> 01:13:26,120 The spiral fractal, for example, is 1670 01:13:26,120 --> 01:13:30,100 present in seashells, broccoli, and hurricanes. 1671 01:13:30,100 --> 01:13:32,850 The fractal tree is relatively easy to program, 1672 01:13:32,850 --> 01:13:35,600 and can be used to study river systems, blood 1673 01:13:35,600 --> 01:13:38,150 vessels, and lightning bolts. 1674 01:13:38,150 --> 01:13:40,770 So many natural systems previously thought off limits 1675 01:13:40,770 --> 01:13:45,248 to mathematicians can now be explained in terms of fractals. 1676 01:13:45,248 --> 01:13:48,375 Mathematics allows us to learn nature's best practices 1677 01:13:48,375 --> 01:13:51,450 and then apply them to solve real world problems. 1678 01:13:51,450 --> 01:13:54,616 Much like Cohen's antenna revolutionized the field 1679 01:13:54,616 --> 01:13:58,186 of telecommunications, other fractal research 1680 01:13:58,186 --> 01:14:00,310 is changing medicine, weather prediction, 1681 01:14:00,310 --> 01:14:05,886 and building design here at MIT and everywhere in the world. 1682 01:14:05,886 --> 01:14:06,878 Look around you. 1683 01:14:06,878 --> 01:14:09,358 What beautiful patterns do you see? 1684 01:14:17,207 --> 01:14:17,790 [END PLAYBACK] 1685 01:14:17,790 --> 01:14:20,766 [APPLAUSE] 1686 01:14:21,667 --> 01:14:22,750 ELIZABETH CHOE: All right. 1687 01:14:27,730 --> 01:14:29,635 Any thoughts from anyone? 1688 01:14:29,635 --> 01:14:31,530 Should we dive right in? 1689 01:14:31,530 --> 01:14:35,555 Yuliya, what are your favorite and least favorite parts 1690 01:14:35,555 --> 01:14:36,290 about this cut? 1691 01:14:42,807 --> 01:14:43,640 AUDIENCE: Let's see. 1692 01:14:43,640 --> 01:14:46,930 There was some scenes that I liked better than others. 1693 01:14:46,930 --> 01:14:49,190 That's mostly because of the lighting and the sound. 1694 01:14:49,190 --> 01:14:53,595 I think the one in the classroom had 1695 01:14:53,595 --> 01:14:57,020 a nice sound and nice lighting. 1696 01:14:57,020 --> 01:15:01,595 So I guess the indoor scenes were a lot easier to shoot. 1697 01:15:07,690 --> 01:15:12,680 ELIZABETH CHOE: So I think, in general, again, 1698 01:15:12,680 --> 01:15:14,020 very nice script. 1699 01:15:14,020 --> 01:15:18,280 This came such a long way from the initial ideation phase, 1700 01:15:18,280 --> 01:15:21,357 and I think it is, like computer science-- I mean, 1701 01:15:21,357 --> 01:15:23,940 my favorite thing about all the videos that you guys have done 1702 01:15:23,940 --> 01:15:27,190 is the topics are so unique, and so different than what 1703 01:15:27,190 --> 01:15:28,569 people normally get in school. 1704 01:15:28,569 --> 01:15:30,110 And they're taking all these concepts 1705 01:15:30,110 --> 01:15:32,235 that they've learned in school, but just putting it 1706 01:15:32,235 --> 01:15:33,402 in a very different context. 1707 01:15:33,402 --> 01:15:35,818 And it's hopefully because you're talking about the things 1708 01:15:35,818 --> 01:15:36,910 that you're excited about. 1709 01:15:36,910 --> 01:15:41,770 And so I'm really happy with how you've transformed, like, 1710 01:15:41,770 --> 01:15:43,850 math, which is, again, a very hard video 1711 01:15:43,850 --> 01:15:48,269 to do if you don't do it in the style of Vi Hart, 1712 01:15:48,269 --> 01:15:49,810 and putting your face and hosting it. 1713 01:15:49,810 --> 01:15:51,560 It's done nicely. 1714 01:15:51,560 --> 01:15:56,070 I think, in general, the video has a very fast pace to it, 1715 01:15:56,070 --> 01:15:59,380 and I don't know if it's because the cuts are happening 1716 01:15:59,380 --> 01:16:02,480 so frequently, or you're naturally a very animated 1717 01:16:02,480 --> 01:16:06,860 person, which is nice, but leave a little bit of room, 1718 01:16:06,860 --> 01:16:10,350 like, a little bit of breathing space to compensate for that. 1719 01:16:10,350 --> 01:16:13,280 I think maybe the reason why it was hard for me 1720 01:16:13,280 --> 01:16:15,800 to follow a little bit was the opening 1721 01:16:15,800 --> 01:16:18,310 seemed a little too short. 1722 01:16:18,310 --> 01:16:20,970 And I know that you had edited it from the last time I had 1723 01:16:20,970 --> 01:16:22,836 seen it, but let's-- 1724 01:16:22,836 --> 01:16:23,502 [VIDEO PLAYBACK] 1725 01:16:23,502 --> 01:16:30,270 [MUSIC PLAYING] 1726 01:16:30,270 --> 01:16:30,770 -Hi. 1727 01:16:30,770 --> 01:16:34,564 What do snowflakes and cell phones have in common? 1728 01:16:34,564 --> 01:16:37,637 Well, let me start by drawing a snowflake first. 1729 01:16:37,637 --> 01:16:38,220 [END PLAYBACK] 1730 01:16:38,220 --> 01:16:39,095 ELIZABETH CHOE: Yeah. 1731 01:16:39,095 --> 01:16:41,620 It seems like it's so overly condensed. 1732 01:16:41,620 --> 01:16:44,930 And I know you had brought it down from something that 1733 01:16:44,930 --> 01:16:46,440 was a little bit bigger, but I think 1734 01:16:46,440 --> 01:16:49,880 that it's just so, like, it comes out of nowhere, like, hi. 1735 01:16:49,880 --> 01:16:51,335 What do these have in common? 1736 01:16:51,335 --> 01:16:52,600 It's like, wait, what? 1737 01:16:52,600 --> 01:16:54,740 Like, I wouldn't have had that question. 1738 01:16:54,740 --> 01:16:57,530 And even getting rid of the hi helps with that. 1739 01:16:57,530 --> 01:16:58,800 It's a nice question. 1740 01:16:58,800 --> 01:17:03,660 What do snowflakes and cell phone antennas have in common? 1741 01:17:03,660 --> 01:17:06,550 But there's not enough of a lead into you 1742 01:17:06,550 --> 01:17:10,560 going into describing what a fractal is, yet 1743 01:17:10,560 --> 01:17:13,100 fractals is on the title. 1744 01:17:13,100 --> 01:17:14,992 I think that maybe you could do a little bit 1745 01:17:14,992 --> 01:17:16,450 with the transition there, and I'll 1746 01:17:16,450 --> 01:17:18,680 brainstorm with you, because I can't think of anything 1747 01:17:18,680 --> 01:17:19,513 off the top my head. 1748 01:17:19,513 --> 01:17:22,620 Do you guys have any suggestions for that opening? 1749 01:17:22,620 --> 01:17:23,760 Yeah, Andrea. 1750 01:17:23,760 --> 01:17:27,030 AUDIENCE: Maybe like, I don't know exactly how 1751 01:17:27,030 --> 01:17:31,610 you could do it, but almost like the first shot, where you're 1752 01:17:31,610 --> 01:17:34,630 saying, what do snowflakes-- and then you see, like, 1753 01:17:34,630 --> 01:17:37,447 sort of an image of a snowflake and cell phones, 1754 01:17:37,447 --> 01:17:39,030 and then it sort of zooms out, and you 1755 01:17:39,030 --> 01:17:42,564 realize that the picture is on the cell phone. 1756 01:17:42,564 --> 01:17:43,230 AUDIENCE: Maybe. 1757 01:17:43,230 --> 01:17:46,100 AUDIENCE: Sort of have in common. 1758 01:17:46,100 --> 01:17:48,620 And then, you're-- and then you. 1759 01:17:48,620 --> 01:17:50,120 ELIZABETH CHOE: I mean, I think it's 1760 01:17:50,120 --> 01:17:52,009 OK to introduce the idea of fractals, 1761 01:17:52,009 --> 01:17:53,800 as long as you set it up a little bit more. 1762 01:17:53,800 --> 01:17:56,300 So something like, what do snowflakes and cell phones 1763 01:17:56,300 --> 01:17:57,810 have in common? 1764 01:17:57,810 --> 01:18:02,310 Neverending repeating patterns called fractals. 1765 01:18:02,310 --> 01:18:05,400 And then do a little bit of a slower transition 1766 01:18:05,400 --> 01:18:08,050 into you at the blackboard here. 1767 01:18:08,050 --> 01:18:09,800 Something a little bit more like that. 1768 01:18:09,800 --> 01:18:12,130 I think the visuals help a lot. 1769 01:18:12,130 --> 01:18:15,290 I know that you had filmed up in Stata, because eventually you 1770 01:18:15,290 --> 01:18:18,170 talk about how it affects architecture, 1771 01:18:18,170 --> 01:18:20,520 but I don't think that this location is super 1772 01:18:20,520 --> 01:18:22,750 vital to the opening, and I think 1773 01:18:22,750 --> 01:18:26,010 you can get cleaner audio if you do VO, 1774 01:18:26,010 --> 01:18:28,257 or if you just re-shoot it with you on the table, 1775 01:18:28,257 --> 01:18:30,590 and then you have a picture of a snowflake that comes up 1776 01:18:30,590 --> 01:18:34,680 in a picture of a cell phone, or something like Andrea said. 1777 01:18:34,680 --> 01:18:38,640 But I think having the audience onboard from the get-go 1778 01:18:38,640 --> 01:18:43,290 will help with the pacing of the video as it continues. 1779 01:18:43,290 --> 01:18:47,700 I know that you had struggled with the music too, 1780 01:18:47,700 --> 01:18:51,490 and I think-- I don't know-- so much of music 1781 01:18:51,490 --> 01:18:53,120 is personal taste. 1782 01:18:53,120 --> 01:18:56,290 To me, all I can think about when 1783 01:18:56,290 --> 01:19:00,520 I hear this music is, like, old Korean soap operas. 1784 01:19:00,520 --> 01:19:02,860 And so I don't know if it is, like, 1785 01:19:02,860 --> 01:19:06,350 the most appropriate tone, and maybe I 1786 01:19:06,350 --> 01:19:10,040 feel that way because of experiences of my parents 1787 01:19:10,040 --> 01:19:14,260 watching them, but I think you could play around 1788 01:19:14,260 --> 01:19:15,230 with some other pieces. 1789 01:19:15,230 --> 01:19:18,750 I like the general tempo of the music, 1790 01:19:18,750 --> 01:19:21,540 and how it's sort of this same melody on loop 1791 01:19:21,540 --> 01:19:24,040 in the background, so it's not super distracting, 1792 01:19:24,040 --> 01:19:25,020 and it's a good volume. 1793 01:19:25,020 --> 01:19:27,690 But I would play around with a couple other songs, 1794 01:19:27,690 --> 01:19:29,750 and I can help you with that, if you 1795 01:19:29,750 --> 01:19:32,056 want to run some options by me. 1796 01:19:32,056 --> 01:19:33,930 AUDIENCE: I wanted to use this one because it 1797 01:19:33,930 --> 01:19:39,000 was kind of calming, so kind of to offset the general fast pace 1798 01:19:39,000 --> 01:19:40,985 and animated talking to something 1799 01:19:40,985 --> 01:19:42,110 soothing in the background. 1800 01:19:42,110 --> 01:19:45,970 ELIZABETH CHOE: Yeah So I think it's a good tone to start with, 1801 01:19:45,970 --> 01:19:50,550 and again, maybe it's just my personal preference, 1802 01:19:50,550 --> 01:19:54,770 but something about it made me fixate on the music 1803 01:19:54,770 --> 01:19:56,450 more than on the text. 1804 01:19:56,450 --> 01:19:58,040 Did anyone else have-- maybe it really 1805 01:19:58,040 --> 01:19:59,820 is, just, like I can't get over how much it reminds 1806 01:19:59,820 --> 01:20:01,020 me of Korean soap operas. 1807 01:20:02,530 --> 01:20:04,440 AUDIENCE: It stood out for me at the start, 1808 01:20:04,440 --> 01:20:07,270 like, especially for this scene, it 1809 01:20:07,270 --> 01:20:11,770 gave me the feeling like it was going to something romantic. 1810 01:20:11,770 --> 01:20:12,947 I don't know. 1811 01:20:12,947 --> 01:20:14,530 ELIZABETH CHOE: It's very sentimental, 1812 01:20:14,530 --> 01:20:17,390 like the music evokes something very sentimental, 1813 01:20:17,390 --> 01:20:21,510 just like the opening of the ships one 1814 01:20:21,510 --> 01:20:24,700 evokes a mood that's very different from what 1815 01:20:24,700 --> 01:20:25,700 you're about to go into. 1816 01:20:25,700 --> 01:20:28,120 And especially if you open with something like that, 1817 01:20:28,120 --> 01:20:30,657 if you'd open with a banjo thing-- or not the banjo-- 1818 01:20:30,657 --> 01:20:32,240 whatever you had for the second piece, 1819 01:20:32,240 --> 01:20:34,480 I think it would have been fine. 1820 01:20:34,480 --> 01:20:36,180 But something about opening with music 1821 01:20:36,180 --> 01:20:38,550 that sets a tone that's very different from what you're 1822 01:20:38,550 --> 01:20:42,880 intending to achieve, it threw me off a little bit. 1823 01:20:42,880 --> 01:20:46,700 But luckily, it's something that it's easily fixable. 1824 01:20:46,700 --> 01:20:49,130 You can easily play around with different types of music. 1825 01:20:51,720 --> 01:20:54,660 AUDIENCE: Because for me, you give us, 1826 01:20:54,660 --> 01:20:56,495 because there was a Digicom video, 1827 01:20:56,495 --> 01:21:00,940 and there was the idea that you could use something calming, 1828 01:21:00,940 --> 01:21:03,470 so I tried to use something calming, 1829 01:21:03,470 --> 01:21:05,390 but as you see, I didn't choose that, 1830 01:21:05,390 --> 01:21:08,470 because I realized the calming one will make 1831 01:21:08,470 --> 01:21:12,320 my video feel very monotonous. 1832 01:21:12,320 --> 01:21:16,530 But when I observe the Digicom audio closer, 1833 01:21:16,530 --> 01:21:19,490 I realized there was some percussion notes, 1834 01:21:19,490 --> 01:21:20,196 so that helped. 1835 01:21:20,196 --> 01:21:21,570 So maybe you could find something 1836 01:21:21,570 --> 01:21:24,920 similar to what you have right now, but with a little bit-- 1837 01:21:24,920 --> 01:21:31,282 not too much-- percussion here would help with the pacing. 1838 01:21:31,282 --> 01:21:32,740 ELIZABETH CHOE: That's really good. 1839 01:21:32,740 --> 01:21:36,424 And again, with music, there's no hard and fast rules with 1840 01:21:36,424 --> 01:21:37,590 what works and what doesn't. 1841 01:21:37,590 --> 01:21:39,100 I mean, a lot of it is just, like, 1842 01:21:39,100 --> 01:21:42,340 your gut feeling when you hear it, if it makes sense, 1843 01:21:42,340 --> 01:21:44,780 or if it doesn't. 1844 01:21:44,780 --> 01:21:47,244 And obviously, my gut feeling was very different from 1845 01:21:47,244 --> 01:21:47,910 everyone else's. 1846 01:21:47,910 --> 01:21:49,542 Yeah, Jamie? 1847 01:21:49,542 --> 01:21:53,218 AUDIENCE: First of all, compared to where we started, this is 1848 01:21:53,218 --> 01:21:54,562 isn't, like, oh my goodness. 1849 01:21:54,562 --> 01:21:57,197 This is way, way more awesome than I ever thought 1850 01:21:57,197 --> 01:21:59,590 was possible, with our first conversation 1851 01:21:59,590 --> 01:22:02,330 about it's not real, so this is like-- 1852 01:22:02,330 --> 01:22:05,134 and what I loved with the fractal piece at the beginning, 1853 01:22:05,134 --> 01:22:07,600 where you really explained, because we gave you 1854 01:22:07,600 --> 01:22:09,485 that feedback in the last time, was 1855 01:22:09,485 --> 01:22:12,319 you need to set us up for success in explaining what 1856 01:22:12,319 --> 01:22:13,819 a fractal actually is, and I thought 1857 01:22:13,819 --> 01:22:15,591 you did a really fantastic job. 1858 01:22:15,591 --> 01:22:17,090 One think that you may want to think 1859 01:22:17,090 --> 01:22:22,030 about is you have a very sing-songy voice. 1860 01:22:22,030 --> 01:22:25,240 Your voice is high, and it's kind of sing-songy. 1861 01:22:25,240 --> 01:22:26,920 And at the beginning, you set up this-- 1862 01:22:26,920 --> 01:22:28,920 I don't know if you've ever seen Mrs. Doubtfire, 1863 01:22:28,920 --> 01:22:31,810 but it's this movie where Robin Williams is dressed up 1864 01:22:31,810 --> 01:22:33,745 as this old grandmother, and is just 1865 01:22:33,745 --> 01:22:36,820 kind of this hilarious figure. 1866 01:22:36,820 --> 01:22:39,235 And I think there's an unintended humor 1867 01:22:39,235 --> 01:22:42,135 to your sing-songy-ness at the very beginning that 1868 01:22:42,135 --> 01:22:45,637 makes me feel less credible wanting to watch you. 1869 01:22:45,637 --> 01:22:47,470 And I think there's a very simple fix, which 1870 01:22:47,470 --> 01:22:50,810 is just grounding your voice in a lower register. 1871 01:22:50,810 --> 01:22:53,455 When you talk with your voice later on, 1872 01:22:53,455 --> 01:22:55,865 just listen to that as you watch yourself. 1873 01:22:55,865 --> 01:22:59,980 I notice that the times when your voice is a little lower 1874 01:22:59,980 --> 01:23:03,885 is when I don't notice that as much, and so since you are 1875 01:23:03,885 --> 01:23:06,890 thinking of reworking this first scene, 1876 01:23:06,890 --> 01:23:09,355 you may want to think about consciously grounding 1877 01:23:09,355 --> 01:23:11,860 your voice a little bit more in your chest, 1878 01:23:11,860 --> 01:23:14,275 so that we don't, like, unintentionally 1879 01:23:14,275 --> 01:23:17,515 think it's funny when it's not intended to be. 1880 01:23:17,515 --> 01:23:18,890 ELIZABETH CHOE: And I know George 1881 01:23:18,890 --> 01:23:20,850 had said the camera calms you down, 1882 01:23:20,850 --> 01:23:23,990 and in general it does, and you compensate with higher energy, 1883 01:23:23,990 --> 01:23:26,769 but again, this is what I saying before, and oftentimes, 1884 01:23:26,769 --> 01:23:28,810 hopefully, this stuff that we were saying earlier 1885 01:23:28,810 --> 01:23:31,435 in the class makes a little more sense after you guys have gone 1886 01:23:31,435 --> 01:23:34,070 through it, but sometimes the tendency is to compensate 1887 01:23:34,070 --> 01:23:36,930 or equate higher energy to higher pitch, higher 1888 01:23:36,930 --> 01:23:40,390 volume, like, higher everything, and it's really not 1889 01:23:40,390 --> 01:23:40,910 that at all. 1890 01:23:40,910 --> 01:23:42,330 A lot of it is just the mentality of, 1891 01:23:42,330 --> 01:23:44,538 like, I'm going to be really present here, right now, 1892 01:23:44,538 --> 01:23:46,600 and really give it 100% here. 1893 01:23:46,600 --> 01:23:49,474 AUDIENCE: There's actually a really good TED 1894 01:23:49,474 --> 01:23:54,875 Talk that's about how to speak to be listened to. 1895 01:23:54,875 --> 01:23:59,300 And it's basically, you do these little vocal exorcises, 1896 01:23:59,300 --> 01:24:01,985 and they both relax you, and they'll 1897 01:24:01,985 --> 01:24:06,562 drop your register down, like, just going through them. 1898 01:24:06,562 --> 01:24:10,418 And I had to do those prior to doing-- 1899 01:24:10,418 --> 01:24:13,212 I learned something similar when I was first 1900 01:24:13,212 --> 01:24:14,254 learning public speaking. 1901 01:24:14,254 --> 01:24:15,670 ELIZABETH CHOE: It's a great thing 1902 01:24:15,670 --> 01:24:17,920 to think about not just with making these videos, 1903 01:24:17,920 --> 01:24:20,480 but when you're giving talks later on. 1904 01:24:20,480 --> 01:24:22,952 Again, like, when you're nervous or excited, 1905 01:24:22,952 --> 01:24:25,160 your tendency is to talk a lot with your hands, which 1906 01:24:25,160 --> 01:24:28,282 I know I do, and talk really high pitched. 1907 01:24:28,282 --> 01:24:30,490 So it's just a good thing to think about, in general, 1908 01:24:30,490 --> 01:24:31,380 after this class. 1909 01:24:31,380 --> 01:24:32,325 AUDIENCE: Number two. 1910 01:24:32,325 --> 01:24:34,283 AUDIENCE: At the beginning of those voiceovers, 1911 01:24:34,283 --> 01:24:37,660 I was trying to match the video in my room. 1912 01:24:37,660 --> 01:24:40,015 And it did feel a little bit off as well. 1913 01:24:40,015 --> 01:24:41,259 I wasn't sure how to-- 1914 01:24:41,259 --> 01:24:43,300 ELIZABETH CHOE: I think you could do the opening, 1915 01:24:43,300 --> 01:24:45,840 like, just you set up a tripod, and sitting 1916 01:24:45,840 --> 01:24:48,379 in your room or something, just something really simple. 1917 01:24:48,379 --> 01:24:49,920 What do this and this have in common? 1918 01:24:49,920 --> 01:24:52,680 Well, it's actually neverending repeating 1919 01:24:52,680 --> 01:24:56,550 patterns called fractals, and then you go into fractals. 1920 01:24:56,550 --> 01:24:58,050 AUDIENCE: On a very practical level, 1921 01:24:58,050 --> 01:25:00,814 like, I do a lot of helping of people get ready for talks 1922 01:25:00,814 --> 01:25:04,170 in my lab, and just, like, grounding your feet wherever 1923 01:25:04,170 --> 01:25:06,928 you are, feeling like you're grounded to the earth, 1924 01:25:06,928 --> 01:25:11,437 and then getting a really deep breath, like way from in here 1925 01:25:11,437 --> 01:25:14,450 before you speak, that will help you fight that tendency 1926 01:25:14,450 --> 01:25:15,860 to go way up high. 1927 01:25:19,282 --> 01:25:21,240 ELIZABETH CHOE: And I think the animations here 1928 01:25:21,240 --> 01:25:22,690 will look really good. 1929 01:25:22,690 --> 01:25:25,204 Again, like, visual cues, anything 1930 01:25:25,204 --> 01:25:27,620 that you're going to add, even if it's just still pictures 1931 01:25:27,620 --> 01:25:31,130 will make a big difference. 1932 01:25:31,130 --> 01:25:34,480 And I would play around with the ending too. 1933 01:25:34,480 --> 01:25:38,170 I like that you do the review, but again, the audio is hard 1934 01:25:38,170 --> 01:25:41,330 when you're that far away. 1935 01:25:41,330 --> 01:25:44,360 And you may be able to shoot this in the same room 1936 01:25:44,360 --> 01:25:46,900 that you shoot the opening in-- or you re-shoot it, 1937 01:25:46,900 --> 01:25:50,030 and then, I don't know, have a picture of Stata 1938 01:25:50,030 --> 01:25:51,180 just pop up next to you. 1939 01:25:51,180 --> 01:25:54,050 I think that's a way to compensate pretty easily. 1940 01:25:54,050 --> 01:25:57,722 What is the world background for? 1941 01:25:57,722 --> 01:25:59,680 AUDIENCE: It matches the world at the very end. 1942 01:25:59,680 --> 01:26:00,305 AUDIENCE: Yeah. 1943 01:26:00,305 --> 01:26:04,200 And it was just a nice background for titles. 1944 01:26:04,200 --> 01:26:05,060 ELIZABETH CHOE: Oh. 1945 01:26:05,060 --> 01:26:07,060 I would just go black, honestly. 1946 01:26:07,060 --> 01:26:08,590 Just a black background. 1947 01:26:08,590 --> 01:26:14,182 In general, I think simple reads more professional. 1948 01:26:14,182 --> 01:26:14,950 Oh, I don't know. 1949 01:26:14,950 --> 01:26:17,940 Professional's not the right word, but simple is better, 1950 01:26:17,940 --> 01:26:19,690 I think. 1951 01:26:19,690 --> 01:26:22,366 And I didn't make the connection of, like, look 1952 01:26:22,366 --> 01:26:23,990 at the world when I saw the background. 1953 01:26:23,990 --> 01:26:25,380 It's such a minor thing, though. 1954 01:26:25,380 --> 01:26:29,260 I mean, it's just your credit, so it's OK, 1955 01:26:29,260 --> 01:26:32,480 but just something to think about. 1956 01:26:32,480 --> 01:26:36,084 Any final comments for Yuliya? 1957 01:26:36,084 --> 01:26:39,486 AUDIENCE: I thought that one scene in the dorm 1958 01:26:39,486 --> 01:26:42,402 was really good, where you inadvertently 1959 01:26:42,402 --> 01:26:44,215 had all the stuff behind us. 1960 01:26:44,215 --> 01:26:46,540 I didn't know that it was going to turn out like that. 1961 01:26:46,540 --> 01:26:48,241 AUDIENCE: Oh, the one in the lounge. 1962 01:26:48,241 --> 01:26:48,865 AUDIENCE: Yeah. 1963 01:26:48,865 --> 01:26:49,330 AUDIENCE: Yeah. 1964 01:26:49,330 --> 01:26:51,450 And I think it was the best lighting, too, of all of them. 1965 01:26:51,450 --> 01:26:52,408 AUDIENCE: That's great. 1966 01:26:56,737 --> 01:26:57,820 ELIZABETH CHOE: All right. 1967 01:26:57,820 --> 01:26:59,403 So who's going to comment on Yuliya's? 1968 01:27:02,720 --> 01:27:06,650 AUDIENCE: PJ and Josh. 1969 01:27:06,650 --> 01:27:07,840 ELIZABETH CHOE: All right. 1970 01:27:07,840 --> 01:27:10,609 Last one, and then we'll take a break. 1971 01:27:10,609 --> 01:27:12,775 David, do you want to say anything before we screen? 1972 01:27:15,497 --> 01:27:17,080 Your video will just speak for itself. 1973 01:27:19,048 --> 01:27:21,016 [VIDEO PLAYBACK] 1974 01:27:21,016 --> 01:27:24,460 [MUSIC PLAYING] 1975 01:27:33,330 --> 01:27:35,430 -If I went out for a run now, dressed like this, 1976 01:27:35,430 --> 01:27:37,860 you'd probably call me nuts, right? 1977 01:27:37,860 --> 01:27:39,746 Because it's so cold outside that 1978 01:27:39,746 --> 01:27:42,125 I'd probably die of hypothermia. 1979 01:27:42,125 --> 01:27:44,460 However, in 2009, Wim Hof managed 1980 01:27:44,460 --> 01:27:47,026 to run a full marathon in minus 20 degrees Celsius, 1981 01:27:47,026 --> 01:27:48,150 wearing nothing but shorts. 1982 01:27:48,150 --> 01:27:53,270 While most people would probably die, Wim Hof has survived. 1983 01:27:53,270 --> 01:27:56,460 So what makes Wim Hof able to survive where others can't? 1984 01:27:56,460 --> 01:27:58,040 The research team were suggesting 1985 01:27:58,040 --> 01:28:01,687 that they subjected him to an icy bath for almost two hours. 1986 01:28:01,687 --> 01:28:04,020 While most people would have their core body temperature 1987 01:28:04,020 --> 01:28:07,117 drop to below 35 degrees, causing hypothermia to kick in, 1988 01:28:07,117 --> 01:28:08,533 Wim Hof's body temperature dropped 1989 01:28:08,533 --> 01:28:11,570 to a merely 37.4 degrees Celsius, 1990 01:28:11,570 --> 01:28:13,210 staying surprisingly warm. 1991 01:28:13,210 --> 01:28:15,500 And the funny thing is that the researchers couldn't 1992 01:28:15,500 --> 01:28:17,880 find exactly what had happened. 1993 01:28:17,880 --> 01:28:20,379 Maybe it's his genetic ancestry that saves him. 1994 01:28:20,379 --> 01:28:21,920 In a sample study, studies have found 1995 01:28:21,920 --> 01:28:24,040 that individuals with cold-climate ancestry, 1996 01:28:24,040 --> 01:28:26,050 have been found to have mitochodria 1997 01:28:26,050 --> 01:28:28,560 that can produce more heat and less chemical energy. 1998 01:28:28,560 --> 01:28:30,615 Mitochondria is like a mini-furnace 1999 01:28:30,615 --> 01:28:33,200 that burns the sugars from the food you eat 2000 01:28:33,200 --> 01:28:35,440 into chemical and heat energy. 2001 01:28:35,440 --> 01:28:38,052 Individuals like this are better able to survive the cold, 2002 01:28:38,052 --> 01:28:41,620 however, scientists haven't fully studied Wim Hof's genome, 2003 01:28:41,620 --> 01:28:44,030 so we don't really know. 2004 01:28:44,030 --> 01:28:46,410 Wim Hof practices g-tummo, a Tibetan form 2005 01:28:46,410 --> 01:28:48,420 of meditation and breathing, which allows 2006 01:28:48,420 --> 01:28:50,062 him to double his metabolism. 2007 01:28:50,062 --> 01:28:52,020 Remember those mitochondria I mentioned before? 2008 01:28:52,020 --> 01:28:54,980 Wim Hop can produce enough heat through these mitochondria 2009 01:28:54,980 --> 01:28:58,340 with special breathing, and massive contractions that 2010 01:28:58,340 --> 01:29:02,032 can produce enough heat to body warm. 2011 01:29:02,032 --> 01:29:03,990 Well, you might be tempted to believe that this 2012 01:29:03,990 --> 01:29:06,680 is wishy-washy nonsense. 2013 01:29:06,680 --> 01:29:08,685 However, participants in a study at NUS 2014 01:29:08,685 --> 01:29:10,476 have been shown to increase their core body 2015 01:29:10,476 --> 01:29:14,290 temperature using g-tummo, and they had no prior experience. 2016 01:29:14,290 --> 01:29:15,595 Now, why is it so? 2017 01:29:15,595 --> 01:29:17,470 Strong increases in brain waves were noticed, 2018 01:29:17,470 --> 01:29:19,855 and many have theorized that this enables the body 2019 01:29:19,855 --> 01:29:23,230 to effectively heat the center as well as distribute it 2020 01:29:23,230 --> 01:29:24,940 to the extremities. 2021 01:29:24,940 --> 01:29:26,880 We do not fully understand Wim Hof's methods. 2022 01:29:26,880 --> 01:29:29,110 Although some have tried to follow in his footsteps, 2023 01:29:29,110 --> 01:29:31,710 you would be unwise to do the same. 2024 01:29:31,710 --> 01:29:34,030 And Wim Hof even claims that he can control 2025 01:29:34,030 --> 01:29:35,430 other parts of his body. 2026 01:29:35,430 --> 01:29:38,130 Now, if this is true, and scientifically a fact, 2027 01:29:38,130 --> 01:29:39,780 who knows what doors could open. 2028 01:29:39,780 --> 01:29:41,660 And since science hasn't figured it out yet, 2029 01:29:41,660 --> 01:29:43,820 and I, myself, don't practice these methods, 2030 01:29:43,820 --> 01:29:45,801 maybe I'd better be off donning more jackets. 2031 01:29:58,723 --> 01:30:00,220 [END PLAYBACK] 2032 01:30:00,220 --> 01:30:02,470 ELIZABETH CHOE: David, what was the hardest 2033 01:30:02,470 --> 01:30:03,780 part about filming this video? 2034 01:30:03,780 --> 01:30:05,979 AUDIENCE: I think it was following the script. 2035 01:30:05,979 --> 01:30:07,520 ELIZABETH CHOE: Following the script. 2036 01:30:07,520 --> 01:30:09,603 Just, like, remembering it when you were shooting. 2037 01:30:11,911 --> 01:30:12,536 AUDIENCE: Yeah. 2038 01:30:12,536 --> 01:30:14,036 I really think that was the hardest, 2039 01:30:14,036 --> 01:30:17,496 because trying to say everything while looking at a camera 2040 01:30:17,496 --> 01:30:18,984 felt very, very real. 2041 01:30:21,987 --> 01:30:22,820 ELIZABETH CHOE: Yep. 2042 01:30:22,820 --> 01:30:24,010 That makes a lot of sense. 2043 01:30:24,010 --> 01:30:27,380 And again, like, using your partner to the fullest 2044 01:30:27,380 --> 01:30:30,500 extent when you're filming can really 2045 01:30:30,500 --> 01:30:32,600 help with that sort of humanizing 2046 01:30:32,600 --> 01:30:35,590 the mechanical element of production, 2047 01:30:35,590 --> 01:30:38,110 trying to talk to the person behind the camera. 2048 01:30:38,110 --> 01:30:42,070 I think that you didn't look uncomfortable on camera. 2049 01:30:42,070 --> 01:30:46,040 The only thing is, in general, you talk really fast, 2050 01:30:46,040 --> 01:30:48,870 and with the music that was in it, 2051 01:30:48,870 --> 01:30:50,750 I think that you can take some of the music 2052 01:30:50,750 --> 01:30:53,710 out, or drop the volume a ton, or play with, like, 2053 01:30:53,710 --> 01:30:55,720 less busy music. 2054 01:30:55,720 --> 01:30:59,210 But having someone who talks naturally fast, and then, like, 2055 01:30:59,210 --> 01:31:00,670 very upbeat music in the background 2056 01:31:00,670 --> 01:31:02,870 is just, like, exacerbate, it's, like, 2057 01:31:02,870 --> 01:31:04,940 constructive interference. 2058 01:31:04,940 --> 01:31:10,220 AUDIENCE: [INAUDIBLE] calm music, 2059 01:31:10,220 --> 01:31:14,540 but I felt like I put calm music in. 2060 01:31:14,540 --> 01:31:15,500 ELIZABETH CHOE: Yeah. 2061 01:31:15,500 --> 01:31:19,450 I mean, you can also experiment with not using music 2062 01:31:19,450 --> 01:31:20,737 in certain parts of the video. 2063 01:31:20,737 --> 01:31:23,070 You guys don't need to have music the whole way through. 2064 01:31:23,070 --> 01:31:24,150 It's OK. 2065 01:31:24,150 --> 01:31:29,070 And I think because you talk so fast naturally, 2066 01:31:29,070 --> 01:31:33,270 the music can be-- remember, with music, first do no harm, 2067 01:31:33,270 --> 01:31:34,140 right? 2068 01:31:34,140 --> 01:31:39,300 It can be hard to understand just the sheer amount 2069 01:31:39,300 --> 01:31:43,300 of content that you're saying when the music is 2070 01:31:43,300 --> 01:31:45,312 so upbeat and so loud. 2071 01:31:45,312 --> 01:31:48,204 AUDIENCE: I think the music was, at least for me, personally, 2072 01:31:48,204 --> 01:31:51,096 it had the same effect as when Elizabeth was showing 2073 01:31:51,096 --> 01:31:53,640 the choices for the heart video, where at the beginning, 2074 01:31:53,640 --> 01:31:57,664 it was a little bit too much for me, and I got the giggles. 2075 01:31:57,664 --> 01:32:00,730 I don't know what about you putting on running shoes, 2076 01:32:00,730 --> 01:32:02,540 and, like, just the loudness of that music, 2077 01:32:02,540 --> 01:32:05,620 it just seemed a little bit ridiculous, 2078 01:32:05,620 --> 01:32:09,090 that I wasn't mentally ready for some serious facts 2079 01:32:09,090 --> 01:32:10,689 at that point. 2080 01:32:10,689 --> 01:32:12,230 AUDIENCE: I wanted to make it upbeat. 2081 01:32:12,230 --> 01:32:15,974 I wanted it to be like I was going to run in the cold. 2082 01:32:15,974 --> 01:32:16,640 [VIDEO PLAYBACK] 2083 01:32:16,640 --> 01:32:20,070 [MUSIC PLAYING] 2084 01:32:22,237 --> 01:32:22,820 [END PLAYBACK] 2085 01:32:22,820 --> 01:32:24,745 AUDIENCE: It's good, like, until the point 2086 01:32:24,745 --> 01:32:27,782 where you ask the question. 2087 01:32:27,782 --> 01:32:30,199 From, like, instead of being, like, oh, OK, it's OK to be, 2088 01:32:30,199 --> 01:32:32,282 like, oh, this is me when I'm running in the cold. 2089 01:32:32,282 --> 01:32:34,546 But then as soon as you switch to actual explanation-- 2090 01:32:34,546 --> 01:32:35,420 ELIZABETH CHOE: Yeah. 2091 01:32:35,420 --> 01:32:39,874 I would just duck it out after you ask the question. 2092 01:32:39,874 --> 01:32:42,160 [VIDEO PLAYBACK] 2093 01:32:42,160 --> 01:32:44,220 -If I went out for a run now dressed like this, 2094 01:32:44,220 --> 01:32:46,690 you'd probably call me nuts, right? 2095 01:32:46,690 --> 01:32:48,576 Because it's so cold outside that 2096 01:32:48,576 --> 01:32:50,340 I'd probably die of hypothermia. 2097 01:32:50,340 --> 01:32:50,960 [END PLAYBACK] 2098 01:32:50,960 --> 01:32:52,335 ELIZABETH CHOE: And also there, I 2099 01:32:52,335 --> 01:32:54,620 mean, everyone's done this, where they take 2100 01:32:54,620 --> 01:33:00,220 pauses in weird parts of their sentences-- I mean, 2101 01:33:00,220 --> 01:33:04,170 if you wanted to make it funny, I don't know if you do. 2102 01:33:04,170 --> 01:33:06,066 AUDIENCE: She's making-- 2103 01:33:06,066 --> 01:33:08,436 ELIZABETH CHOE: I am so sorry. 2104 01:33:08,436 --> 01:33:10,810 AUDIENCE: I think it's one of my favorite things-- 2105 01:33:10,810 --> 01:33:12,180 ELIZABETH CHOE: The last time this happened, I was thinking, 2106 01:33:12,180 --> 01:33:14,360 oh my gosh, this happens to be more 2107 01:33:14,360 --> 01:33:16,237 than I would like to admit, but I was, like, 2108 01:33:16,237 --> 01:33:18,070 I hope this doesn't happen during the class, 2109 01:33:18,070 --> 01:33:21,526 and it ends up on the internet, but now it's going to anyway. 2110 01:33:21,526 --> 01:33:24,202 [LAUGHTER] 2111 01:33:30,030 --> 01:33:31,650 If you wanted to make it funny, you 2112 01:33:31,650 --> 01:33:36,610 could zoom in-- as you-- nevermind. 2113 01:33:36,610 --> 01:33:37,699 Don't make it funny. 2114 01:33:37,699 --> 01:33:39,115 AUDIENCE: So if you wanted-- I was 2115 01:33:39,115 --> 01:33:42,731 going to say-- every time you pause, cut out that pause, 2116 01:33:42,731 --> 01:33:44,980 and then maybe a little bit closer to your face, like, 2117 01:33:44,980 --> 01:33:45,790 what if I die? 2118 01:33:45,790 --> 01:33:47,280 And then, like, zoom in, I'm cold. 2119 01:33:50,400 --> 01:33:52,767 That's really comedic. 2120 01:33:52,767 --> 01:33:55,100 ELIZABETH CHOE: It's kind of like the thing that we did, 2121 01:33:55,100 --> 01:33:58,450 and it's not very good, like the extreme zoom, 2122 01:33:58,450 --> 01:34:01,440 and you could make it, like-- with comedy, 2123 01:34:01,440 --> 01:34:03,912 going big or going home works the best, because you really 2124 01:34:03,912 --> 01:34:05,870 have to commit to it, so if you want it to have 2125 01:34:05,870 --> 01:34:07,830 a huge comedic effect, you would, like, 2126 01:34:07,830 --> 01:34:13,710 zoom in really close, and you would have, like, 2127 01:34:13,710 --> 01:34:16,948 a weird sound effect. 2128 01:34:16,948 --> 01:34:19,840 I'm so sorry, you guys. 2129 01:34:19,840 --> 01:34:22,859 AUDIENCE: I think it's really funny to you. 2130 01:34:22,859 --> 01:34:25,150 ELIZABETH CHOE: But if you don't want to make it funny, 2131 01:34:25,150 --> 01:34:33,710 which I would recommend, either cut out the gaps and alternate 2132 01:34:33,710 --> 01:34:36,520 between zooming in and out like Hank Green does on SciShow. 2133 01:34:36,520 --> 01:34:39,930 There's one other time that happens, like, right here. 2134 01:34:39,930 --> 01:34:43,310 In general, like, if your gaps are happening 2135 01:34:43,310 --> 01:34:47,790 in places that are not at the ends of scenes, 2136 01:34:47,790 --> 01:34:50,340 really be conscious of how long those last. 2137 01:34:50,340 --> 01:34:52,555 And having two other people look at your video today 2138 01:34:52,555 --> 01:34:53,930 will help, because sometimes it's 2139 01:34:53,930 --> 01:34:55,680 hard to tell when you're watching yourself 2140 01:34:55,680 --> 01:34:58,929 if something looks like it's lasting too long or not. 2141 01:34:58,929 --> 01:35:00,720 But if you have gaps that are too long that 2142 01:35:00,720 --> 01:35:02,095 are in the middle of your scenes, 2143 01:35:02,095 --> 01:35:04,910 you can use the trick of digital zooming 2144 01:35:04,910 --> 01:35:09,470 in and out to hide the cuts. 2145 01:35:09,470 --> 01:35:13,490 Does anyone have general comments? 2146 01:35:13,490 --> 01:35:14,751 Yes, Yuliya. 2147 01:35:14,751 --> 01:35:16,000 AUDIENCE: I like the delivery. 2148 01:35:16,000 --> 01:35:18,770 It was really natural. 2149 01:35:18,770 --> 01:35:21,660 And the music was sometimes distracting. 2150 01:35:21,660 --> 01:35:23,824 Another thing that had that effect 2151 01:35:23,824 --> 01:35:26,240 were some of the backgrounds, so like the one where you're 2152 01:35:26,240 --> 01:35:28,280 holding a trashcan, and there's a person, 2153 01:35:28,280 --> 01:35:29,870 and then there's a trashcan. 2154 01:35:29,870 --> 01:35:31,545 So I wasn't sure, like, did that mean 2155 01:35:31,545 --> 01:35:34,930 the person was in the trashcan, like, what happened, 2156 01:35:34,930 --> 01:35:38,970 and, like, yeah, like, this scene. 2157 01:35:38,970 --> 01:35:41,430 And then there were some others, like the lab. 2158 01:35:41,430 --> 01:35:46,700 I wasn't sure why the lab was there. 2159 01:35:46,700 --> 01:35:48,640 Even though it was really cool. 2160 01:35:48,640 --> 01:35:49,580 ELIZABETH CHOE: I know that you held up 2161 01:35:49,580 --> 01:35:51,413 the trashcan because you were trying to say, 2162 01:35:51,413 --> 01:35:53,850 like, he was in a bucket. 2163 01:35:53,850 --> 01:35:56,720 But again, with the music, it's hard to hear that you're 2164 01:35:56,720 --> 01:35:58,630 explaining the bucket thing, so I would just 2165 01:35:58,630 --> 01:36:01,915 cut to the picture of him before you hold up the trashcan. 2166 01:36:01,915 --> 01:36:02,640 [VIDEO PLAYBACK] 2167 01:36:02,640 --> 01:36:05,150 - --team were suggesting that they subjected him to an icy 2168 01:36:05,150 --> 01:36:06,000 bath for almost two hours. 2169 01:36:06,000 --> 01:36:06,260 [END PLAYBACK] 2170 01:36:06,260 --> 01:36:07,245 ELIZABETH CHOE: Yeah. 2171 01:36:07,245 --> 01:36:08,870 I mean, in general, that line is spoken 2172 01:36:08,870 --> 01:36:11,987 so quickly that it's hard to follow what you're doing. 2173 01:36:11,987 --> 01:36:13,570 AUDIENCE: And it's not just the speed. 2174 01:36:13,570 --> 01:36:15,444 I think you need to put a little more diction 2175 01:36:15,444 --> 01:36:19,730 in between your words, so that, like, what I hear happening 2176 01:36:19,730 --> 01:36:21,970 in they're kind of slurring all together, 2177 01:36:21,970 --> 01:36:23,570 so it's not just a matter of speed, 2178 01:36:23,570 --> 01:36:27,170 but it's that I'm having trouble actually separating 2179 01:36:27,170 --> 01:36:30,177 this word from this word, and therefore, there 2180 01:36:30,177 --> 01:36:32,010 are chunks that feel like one big long word, 2181 01:36:32,010 --> 01:36:35,220 that they're actually made up of four or five words. 2182 01:36:35,220 --> 01:36:38,430 I think there's a piece of slowing down, but then also, 2183 01:36:38,430 --> 01:36:41,010 forcing yourself to use over-diction to clarify 2184 01:36:41,010 --> 01:36:41,710 your words. 2185 01:36:41,710 --> 01:36:44,970 That'll help a lot too, more so than you 2186 01:36:44,970 --> 01:36:49,689 think, because it will help clean up those little spaces 2187 01:36:49,689 --> 01:36:53,030 in between the words to then provide me with a little more, 2188 01:36:53,030 --> 01:36:56,414 like, OK, I'm with you every single step of the way, if that 2189 01:36:56,414 --> 01:36:57,310 makes sense. 2190 01:36:57,310 --> 01:37:00,290 So if you are going to do any retaking of videos, 2191 01:37:00,290 --> 01:37:03,824 try really hard to really tighten up the way 2192 01:37:03,824 --> 01:37:05,282 that you say the words, in addition 2193 01:37:05,282 --> 01:37:06,728 to slowing down a little bit. 2194 01:37:06,728 --> 01:37:07,919 I think that'll help people. 2195 01:37:07,919 --> 01:37:10,335 ELIZABETH CHOE: I think if you do that, that'll inherently 2196 01:37:10,335 --> 01:37:12,420 help you slow down, because you're going to think 2197 01:37:12,420 --> 01:37:16,080 about each word at a time. 2198 01:37:16,080 --> 01:37:18,085 I like the use of pictures here. 2199 01:37:18,085 --> 01:37:19,460 It's really helpful, because this 2200 01:37:19,460 --> 01:37:21,540 is an instance where we just don't have access 2201 01:37:21,540 --> 01:37:23,210 to shoot any of this. 2202 01:37:25,970 --> 01:37:29,360 I would play around with, in general, zooming in and out, 2203 01:37:29,360 --> 01:37:31,010 when you're doing long takes. 2204 01:37:31,010 --> 01:37:32,850 I forgot to mention this, but I thought 2205 01:37:32,850 --> 01:37:35,730 that was a really nice thing that Yuliya did in her video, 2206 01:37:35,730 --> 01:37:39,454 was-- because we had talked about this last week-- 2207 01:37:39,454 --> 01:37:40,870 how to clean up some of the gaps-- 2208 01:37:40,870 --> 01:37:43,410 and she does some nice work with cutting into, 2209 01:37:43,410 --> 01:37:45,560 just like her hand drawing the fractals, 2210 01:37:45,560 --> 01:37:48,720 and I think that, in general, people 2211 01:37:48,720 --> 01:37:50,620 can take more advantage of that technique. 2212 01:37:54,810 --> 01:37:56,430 Oh. 2213 01:37:56,430 --> 01:37:59,120 So here you're cutting in between closeups, 2214 01:37:59,120 --> 01:38:01,590 but this is another thing with the iTrace, where 2215 01:38:01,590 --> 01:38:04,840 in the first scene you're on the left, and on the second scene, 2216 01:38:04,840 --> 01:38:07,100 you're on the right, and you're also not 2217 01:38:07,100 --> 01:38:11,430 in the same 3D plane of field as you were before. 2218 01:38:11,430 --> 01:38:17,970 So in the previous scene, you were close to the bench, 2219 01:38:17,970 --> 01:38:19,660 and here, did you scoot up forward? 2220 01:38:22,900 --> 01:38:28,810 So it's not terrible-- it's not like the end of the world 2221 01:38:28,810 --> 01:38:31,020 or anything, but it's, like, a little jarring, 2222 01:38:31,020 --> 01:38:33,730 and I guess I'm subconsciously taking time 2223 01:38:33,730 --> 01:38:36,850 to adjust my sense of space and where 2224 01:38:36,850 --> 01:38:39,850 you are when that cut happens. 2225 01:38:39,850 --> 01:38:42,380 I don't necessarily think you have to re-shoot it, 2226 01:38:42,380 --> 01:38:46,790 but I would either-- let's watch it. 2227 01:38:46,790 --> 01:38:48,980 AUDIENCE: And they had no prior experience. 2228 01:38:48,980 --> 01:38:50,285 Now, why is it so? 2229 01:38:50,285 --> 01:38:52,160 Strong increases in brain waves were noticed, 2230 01:38:52,160 --> 01:38:54,540 and many have theorized that this enables the body 2231 01:38:54,540 --> 01:38:57,700 to effectively heat the center as well as distribute it 2232 01:38:57,700 --> 01:38:59,465 to the extremities. 2233 01:38:59,465 --> 01:39:00,840 ELIZABETH CHOE: Is there a B-roll 2234 01:39:00,840 --> 01:39:02,060 that you could use there? 2235 01:39:02,060 --> 01:39:04,680 Because I think that's a really good opportunity to-- it's 2236 01:39:04,680 --> 01:39:07,470 a key point that you're connecting 2237 01:39:07,470 --> 01:39:09,180 what someone is doing with their mind, 2238 01:39:09,180 --> 01:39:10,910 and how that's legitimately connecting 2239 01:39:10,910 --> 01:39:12,070 to the rest of their body. 2240 01:39:12,070 --> 01:39:12,986 AUDIENCE: [INAUDIBLE]. 2241 01:39:17,307 --> 01:39:19,890 ELIZABETH CHOE: Could you even just use pictures of the brain, 2242 01:39:19,890 --> 01:39:21,181 and then, like, the human body? 2243 01:39:24,040 --> 01:39:26,340 Again, this is a really hard thing to visualize, 2244 01:39:26,340 --> 01:39:30,530 and I know you're not working with a ton of resources, 2245 01:39:30,530 --> 01:39:32,060 but I think that's an opportunity 2246 01:39:32,060 --> 01:39:35,020 to maybe try voiceover with the technique 2247 01:39:35,020 --> 01:39:37,880 that Jamie was talking about, because it's such a crucial bit 2248 01:39:37,880 --> 01:39:39,070 to the video, actually. 2249 01:39:39,070 --> 01:39:41,680 That's where you're actually tying the science 2250 01:39:41,680 --> 01:39:45,126 into something that seems a little pseudo science. 2251 01:39:45,126 --> 01:39:49,070 AUDIENCE: Keeping that in mind, as you watch your video-- 2252 01:39:49,070 --> 01:39:52,028 and whoever's talking over with you, 2253 01:39:52,028 --> 01:39:54,164 really connecting it and grounding it 2254 01:39:54,164 --> 01:39:55,479 in the real science too. 2255 01:39:55,479 --> 01:39:57,451 Because I liked your furnace metaphor, 2256 01:39:57,451 --> 01:40:00,902 but then I was distracted by the burning exploding boxes, 2257 01:40:00,902 --> 01:40:04,353 and if I've never heard of mitochondria before, 2258 01:40:04,353 --> 01:40:07,804 or cellular respiration type things, 2259 01:40:07,804 --> 01:40:09,810 that wouldn't be very distanced. 2260 01:40:09,810 --> 01:40:12,305 I would think explosions rather than this is grounded 2261 01:40:12,305 --> 01:40:15,299 in my biology type things. 2262 01:40:15,299 --> 01:40:16,962 And so maybe think of places, where 2263 01:40:16,962 --> 01:40:19,790 you can include images like the circulatory system, things 2264 01:40:19,790 --> 01:40:21,287 like that. 2265 01:40:21,287 --> 01:40:23,283 Just, like, keep grounding it. 2266 01:40:27,774 --> 01:40:32,265 AUDIENCE: When you cut from the guy doing meditation 2267 01:40:32,265 --> 01:40:35,758 to you sitting cross-legged, was that purposeful? 2268 01:40:35,758 --> 01:40:36,756 AUDIENCE: Yes. 2269 01:40:36,756 --> 01:40:37,754 I'm supposed to be doing meditation. 2270 01:40:37,754 --> 01:40:38,253 AUDIENCE: OK. 2271 01:40:38,253 --> 01:40:39,169 That's what I thought. 2272 01:40:39,169 --> 01:40:43,540 Because I was like, not 100% sure, but I was pretty sure 2273 01:40:43,540 --> 01:40:46,325 that was a choice that you made. 2274 01:40:46,325 --> 01:40:47,810 There's no comment. 2275 01:40:47,810 --> 01:40:48,800 I just had a question. 2276 01:40:52,866 --> 01:40:54,740 ELIZABETH CHOE: Any other thoughts for David? 2277 01:41:02,660 --> 01:41:05,810 So you guys want to do Google Docs versus just talking one 2278 01:41:05,810 --> 01:41:07,420 on one with people? 2279 01:41:07,420 --> 01:41:10,180 Is that the consensus? 2280 01:41:10,180 --> 01:41:11,860 AUDIENCE: Could we do both? 2281 01:41:11,860 --> 01:41:12,180 ELIZABETH CHOE: Yeah. 2282 01:41:12,180 --> 01:41:13,570 You can totally do both. 2283 01:41:13,570 --> 01:41:17,600 So the rest of class time is for feedback for each other, 2284 01:41:17,600 --> 01:41:20,677 and this is a super, super crucial, critical part 2285 01:41:20,677 --> 01:41:21,760 of the production process. 2286 01:41:24,510 --> 01:41:26,770 During the break, I will post a link 2287 01:41:26,770 --> 01:41:39,080 onto the Tumblr that has all the Google Docs that I will 2288 01:41:39,080 --> 01:41:40,270 finish making for everyone. 2289 01:41:40,270 --> 01:41:44,530 So for example, Yuliya, your two commenters are Joshua and PJ. 2290 01:41:44,530 --> 01:41:47,850 So Josh and PJ, just go into your corresponding page, 2291 01:41:47,850 --> 01:41:49,870 and on the time code, just leave your comments. 2292 01:41:49,870 --> 01:41:52,062 I will comment on everyone's rough cuts as well. 2293 01:41:52,062 --> 01:41:54,520 And again, don't worry if you're repeating the same remarks 2294 01:41:54,520 --> 01:41:56,890 as other people are doing. 2295 01:41:56,890 --> 01:42:00,580 How about we spend-- after the break-- doing the Google Docs 2296 01:42:00,580 --> 01:42:04,110 stuff, and then whenever you guys finish, 2297 01:42:04,110 --> 01:42:06,230 I guess, in the order of people finishing, 2298 01:42:06,230 --> 01:42:09,280 group up, and give one on one feedback as well. 2299 01:42:09,280 --> 01:42:11,302 And we can help facilitate that too. 2300 01:42:11,302 --> 01:42:14,920 Does that sound good to everyone? 2301 01:42:14,920 --> 01:42:16,440 The hardest part is over. 2302 01:42:16,440 --> 01:42:19,370 The hardest part is just getting the first cut. 2303 01:42:19,370 --> 01:42:22,320 It's getting the first script out there. 2304 01:42:22,320 --> 01:42:26,640 And hopefully, moving forward, going to Thursday, 2305 01:42:26,640 --> 01:42:28,470 it'll be easier.